Florida Music Director - November 2018

Shall We Dance ‌ Yes, We Should

Escaping the Oppressive Classroom PLUS:

Prelude to the 2019 Conference President-Elect Candidates

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

Mark A. Belfast, Jr., PhD Southeastern University College of Arts & Media 1000 Longfellow Blvd.

Lakeland, FL 33801 (863) 667-5104 (office) (mabelfast@seu.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) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

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

Official FMEA and FMD Photographers

Bob O’Lary

Debby Stubing

Art Director & Production Manager

Lori Danello Roberts, LDR Design Inc. (lori@flmusiced.org)

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

Contents November 2018 Volume 72 • Number 4

F E AT U R E S

2018 NAfME All-National Honor Ensembles. . . . . . 10 FMEA President-Elect Candidates. . . . . . . . . . 12-13 FVA President-Elect Candidates. . . . . . . . . . . . . . 14 FVA Middle School Chair-Elect Candidates.. . . . . . 15 FBA 2018 Hall of Fame. . . . . . . . . . . . . . . . . . . 18 Shall We Dance … Yes, We Should. . . . . . . . . . . 20 Escaping the Oppressive Classroom.. . . . . . . . . . . 23

ARTISTRY:

D E PA R T M E N T S

Teaching &Performing

President’s Message. . . . . . 4

Prelude to the 2019 Conference Registration Fees and Procedures.. . . . . . . . . . . . . . 28-29 Registration and Ticket Policies. . . . . . . . . . . . . . . . . 30-32 2019 Contracted Hotels. . . . . . . . . 33 How Do I Get to the Conference?. . . . . . . . . . . . . . . . 34 Student Leadership Workshop. . . . . 35 Sneak Peek at FMEA Preconference. . . . . . . . . . . . . . . 36 All-State Rehearsals. . . . . . . . . 38-39

2018-19 FMEA Donors. . . 6-7 Advocacy. . . . . . . . . . . . 8 Academic Partners. . . . . . 40 Corporate Partners. . . . . . . 41 Component News.. . . . . .

42

Committee Reports. . . . .

45

Research Puzzles. . . . . . . 50 Executive Director’s Notes. 52 Advertiser Index. . . . . . .

53

Officers and Directors.. . . 54

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President’sMessage Kenneth Williams, PhD President Florida Music Education Association

The greatest good you can do for another is not just to share your riches but to reveal to him his own.

– Benjamin Disraeli

Who Did It …

Who Is Responsible?

M

y best guess is there is someone in your past who is responsible, responsible for you

being a teacher of music today. That person somehow engaged you, inspired you,

empowered you to make the teaching of music the focus of your life. As I ponder the enormity

of the role music plays in our everyday lives, it occurs to me that of the countless number of musicians—you know, the composers, the publishers, the performers, the recording engineers, the music merchants, the instrument makers, the list is almost endless—none would exist without the teachers of music who affected their lives. Mozart had teachers, Beethoven had

teachers, Mahler had teachers, The Beatles had teachers … Who inspired and empowered you?

My love of music came from my mother. From the time of my earliest memories, I found

myself surrounded by music and music making in our home. Mom was a rather accomplished

pianist, and on many an evening, our living room became the focus of Beethoven, Chopin, Rachmaninov; music from church; chamber music; and the popular music of the day (George

Gershwin, Cole Porter, Richard Rogers, Jerome Kern … you know, music with a melody). And in those early years of my life, my favorite day in elementary school was the day the music teacher came to share her musical gifts.

My love of making music with a group came from Mr. Carlton Whitman; he was my junior/

senior high school band director. He taught me skill; he taught me musical concepts; he taught

me to make a significant contribution to others around me and to depend on others for the success of the whole. Mr. Whitman’s greatest gift to me came on the day when he said, “Ken, climb on the podium and conduct the band.” I was in the seventh grade. Mr. Whitman’s gift

was the gift of empowerment. He opened the door of possibility for a 12-year-old and gave that little boy a glimpse of what might be. His care and nurturing changed my life forever. Tell me, who was your Mr. Whitman?

In my life, I have been blessed by the gift of mentorship and friendship from many people

who invested in my success and well-being, and their contributions have been immeasurable.

As I entered the music teaching profession, many stepped forward to offer help, and none was more constant than Andrew “Jack” Crew. I first met Mr. Crew 50 years ago, and he became a lifelong model, colleague and friend. Always giving of himself, his knowledge, his experience,

his friendship, his encouragement, and never asking anything in return. I watched as he made that same contribution to everyone whose path he crossed. We are all better for having had

him in our lives, and through us he has impacted countless thousands of young musicians. My thoughts on the occasion of his passing were that I will miss Jack, but through his generosity

and his impact on who I am, he has been a part of me since our first meeting all those years ago, and his selfless joy and passion for making music and teaching others will be with me until the end of my days. And so I ask you, are you being an Andrew Crew to someone?

I’ve shared my journey with you to make a point. EVERYONE in any aspect of the music

profession found empowerment from someone who served in the role of teacher. Who will be

the music teachers for our next generation? The data are clear. The number of students who are making the choice to study music education is declining at what I perceive as an alarming rate.

ARTISTRY:

Teaching &Performing

Every year, more and more Florida music teaching

positions go unfilled as a result of a lack of qualified candidates. I can only wonder if perhaps it is that

we, the members of the profession, are not identifying those students in our classrooms who show a propensity to be a great music teacher and then

prying open that door of what might be and encour-

aging and empowering those wonderful young musicians to step through that portal to join this

noble profession. I’m calling on all members of FMEA to make this our priority, to ensure the learn-

ing opportunities for our future generations. I challenge each of you to seek out those exceptional

young musicians in your classroom and inspire

them to become a music teacher, inspire them to be that person who changes young lives!

Sincerely,

Plan now to attend the 2019 FMEA Professional

Development Conference, ARTISTRY: Teaching

& Performing, where we will celebrate FMEA’s 75th anniversary.

Wednesday’s FMEA Preconference will be spectacular.

«« Douglas Anderson School of the Arts Chamber Orchestra – Brian Griffin, Conductor «« Lake Nona High School Chorus – Justin Chase, Conductor «« Buchholz High School Wind Ensemble – Shawn Barat, Conductor The Wednesday evening President’s Concert will feature:

Make plans now to include the Wednesday FMEA Preconference

and the President’s Concert in your conference experience. You will have to see the complete conference schedule to wrap your head around the enormity of possibilities for learning and growth through

clinic sessions, performances, industry exhibits and sharing with

your colleagues. Last year’s conference hosted 10,000 participants and visitors … you don’t want to miss this valuable experience. Bring your

Kenneth Williams, PhD, President

colleagues. I’ll see you in Tampa.

Florida Music Education Association

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AdvocacyReport

Jeanne W. Reynolds

Chairwoman Government Relations Committee

November News You are likely experiencing extreme election fatigue after relent-

This Title IV, Part A SSAE grant funding is new. It is possible

less political ads, phone calls, texts and social media political

that school and district administrators are not yet fully familiar

regroup and celebrate music education. In an age when much

be found on the Florida DOE website:

posts leading up to the November election. It’s time to relax, of the political discourse is negative and involves tearing down

one’s opponents, let’s make November a time to focus on the positive.

with how these funds can be used. Additional information can http://www.fldoe.org/academics/standards/title-iv-part-a.stml Here is a link to funds that are available in your district under Title IV Part A:

http://www.fldoe.org/core/fileparse.php/5660/urlt/TitleIV-

Build Relationships

Once the election is over, immediately send a short congratula-

DistAllocList.pdf

tory letter to local elected officials including new school board

Americans for the Arts has created a document related to ESSA

ing winter concert. Start building those relationships and shar-

https://www.americansforthearts.org/sites/default/files/file_

members, and to state representatives. Invite them to an upcoming the good news about music education in your area.

attach/ESSA_Outcomes.pdf

Please note: If you are reading the Florida Music Director in

ESSA

As you know, due to NAfME’s strong advocacy efforts, music and the arts are mentioned prominently in the 2015 Every Student Succeeds Act. ESSA is the new version of the original

Elementary and Secondary Education Act first passed in 1965.

The 2001 version, entitled No Child Left Behind, has been replaced with this new ESSA legislation.

Florida’s ESSA plan was finally approved in late September.

Ours was the 50th state to earn approval. Unfortunately, arts

are not specifically spelled out in Florida’s plan, but the good news is that districts will be able to access federal dollars that

possibly could be used in arts classrooms. Specifically, there is

a flexible block grant titled the Student Support and Academic

Enrichment (SSAE) grant, which was created under Title IV, Part A. This funding provides school districts with supplemental funding to address three broad areas:

1. Providing students access to a well-rounded education (which includes music education);

2. Supporting safe and healthy students (for example, compre-

hensive school mental health, drug and violence prevention, etc.). This could include social and emotional learning,

which may indirectly include music and arts education; and 3. Supporting the effective use of technology (professional

development, blended learning, etc.). It is possible that digi-

tal music programs may fall under this area.

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entitled the Arts Help Achieve Multiple Measures of Success:

Music Director

print, you may want to pull up this article online to more easily activate links.

Advocacy Resources

As you prepare to meet newly elected officials, arm yourself

with high-quality advocacy materials. Americans for the Arts and the Arts Education Partnership are two national organizations that produce excellent materials. Included here is an

attractive, comprehensive publication about the value of music education:

https://www.ecs.org/wp-content/uploads/Music-Matters-1.pdf FMEA Advocacy Project

The Government Relations Committee is putting a plan in place to collect your stories and your students’ stories about the power

of music education to present at the 2019 FMEA Professional Development Conference. There are literally thousands of these

stories. It is up to us to share the good news. Be prepared to

share your story, and invite your students to share their stories as well.

Thank you for all of your efforts getting the vote out and

being actively engaged in the democratic process. After the election, take some time this month to recharge your advocacy batteries. The 2019 Legislative Session will be here before you know it, and we need to be ready for it!

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2018 All-National Honor Ensembles

November 25-28, 2018 Disney’s Coronado Springs Resort, Orlando, Florida The students listed below will join the best of the best for the National Association for Music Education’s (NAfME)

2018 All-National Honor Ensembles, November 25-28, at Disney’s Coronado Springs Resort at Walt Disney World in

Orlando. The Jazz Ensemble and Mixed Choir concerts take place 7 pm-8:30 pm, November 27, and the Guitar Ensemble (new this year), Symphony Orchestra and Concert Band concerts begin at 10 am, November 28, in the ballroom at

Disney Coronado Springs Resort. The cost of admission is $10 per person. Tickets will be available for purchase on site.

MIXED CHOIR Student

Part

School

School City

Teacher

Zoe Beaton

Alto 1

Martin County High School

Stuart

Shane Thomas

Aiden Bjortvedt*

Bass 1

Montverde Academy

Montverde

Aubrey Connelly-Candelario

Jennifer Carneiro

Alto 2

Olympia High School

Orlando

Janet Le

Lleyton Elliott

Bass 1

Olympia High School

Orlando

Janet Le

Justus Evans

Bass 2

Lake Minneola High School

Minneola

Ian Tapson

Michael Faurot

Tenor 2

Martin County High School

Stuart

Shane Thomas

Noah Gould*

Tenor 2

Armwood High School

Seffner

Jacob Parker

Faith Hannon*

Alto 1

Seabreeze High School

Daytona Beach

Julia Hood

Noah Keyes*

Bass 1

Keswick Christian School

St. Petersburg

Steve Ko

Christian Morin*

Bass 2

St. Thomas Aquinas High School

Fort Lauderdale

Wanda Drozdovitch

Melissa Pereyra

Soprano 2

West Orange High School

Winter Garden

Daryl Yasay

Robert Rodriguez*

Tenor 2

St. Thomas Aquinas High School

Fort Lauderdale

Wanda Drozdovitch

Samantha Sosa*

Soprano 1

Osceola County School for the Arts

Kissimmee

Lisa Testa

Joshua Weissman

Tenor 1

Lake Minneola High School

Minneola

Ian Tapson

Noah Zaidspiner*

Tenor 2

Wellington Community High School

Wellington

Bradford Chase

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JAZZ ENSEMBLE Student

Instrument

School

School City

Teacher

Summer Camargo

Trumpet 1

Dillard Center for the Arts

Fort Lauderdale

Christopher Dorsey

Joshua Chapple

Bari Saxophone

University High School (Volusia)

Orange City

David Martin

Student

Instrument

School

School City

Teacher

Adeline Belova

Flute 1

Milton High School

Milton

Michael Schultz

Karishma Chapalamadugu*

Violin 1

Strawberry Crest High School

Valrico

Cheri Sleeper

Soyoun Choi*

Viola

Holy Trinity Episcopal Academy

Melbourne

Lorie Wacaster

Isabel DiFiore

Oboe 2

Sickles High School

Tampa

Keith Griffis

Alex Heidt

Violin 1

Howard Blake School of the Arts

Tampa

Jason Jerald

Allison Jenkins

Trumpet 1

Douglas Anderson School of the Arts

Jacksonville

Ted Shistle

Emily Singleton

Viola

International Music and Languages Academy

Gainesville

Angela Lounds-Singleton

Brenton Zhang

Cello

Winter Park High School

Winter Park

Laurie Bitters

Instrument

School

School City

Teacher

SYMPHONY ORCHESTRA

CONCERT BAND Student Anny Acevedo

Oboe 2

Viera High School

Viera

Dominick Eggen

Eddie Beck

Percussion

Buchholz High School

Gainesville

Shawn Barat

Desiree Hagg

Clarinet 2

Lake Brantley High School

Altamonte Springs

Brad Wharton

Destin Hoskins

Tuba

University High School

Orange City

David Martin

Rebekah Laflin

Flute 2

The King’s Academy

West Palm Beach

David Skinner

Chris Nelson*

Bass Clarinet

Ponte Vedra High School

Ponte Vedra

Jermaine Reynolds

Samuel Watson

Bassoon 1

Douglas Anderson School of the Arts

Jacksonville

Ted Shistle

Jennifer Zapotocky

Trombone 3

Fort Walton Beach High School

Fort Walton Beach

Randy Folsom

GUITAR ENSEMBLE (NEW THIS YEAR) Student

Part

School

School City

Teacher

Brock Chenicek

Part 3 11th Chair

Leon High School

Tallahassee

Ed Prasse

Diego Namnum

Part 1 12th Chair

Freedom High School

Orlando

Christopher Perez

Carter Nelson

Part 1 6th Chair

Lincoln High School

Tallahassee

Eric Robles

Antonio Nunez

Part 2 2nd Chair

Leon High School

Tallahassee

Ed Prasse

Stephaney Quintero

Part 1 4th Chair

Lois Cowles Harrison Center for the Visual and Performing Arts

Lakeland

Robert Phillips

*Francisco Reyes

Part 3 5th Chair

Ronald Reagan Doral Senior High School

Doral

Alvaro Bermudez

*Oscar Rodríguez

Part 2 9th Chair

Ronald W. Reagan Doral Senior High School

Doral

Alvaro Bermudez

Raziah Rwito

Part 2 3rd Chair

Lincoln High School

Tallahassee

Eric Robles

Alex Shadood

Part 2 10th Chair

Lois Cowles Harrison Center for the Visual and Performing Arts

Lakeland

Robert Phillips

Jessie Thurman

Part 3 2nd Chair

Lois Cowles Harrison Center for the Visual and Performing Arts

Lakeland

Robert Phillips

Jarobi Watts

Part 2 5th Chair

Freedom High School

Orlando

Christopher Perez

Wesley Yawn

Part 4 7th Chair

Leon High School

Tallahassee

Ed Prasse

* Student is a member of the Tri-M Music Honor Society.

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F M E A P R E S I D E N T- E L E C T C A N D I DAT E

SHELBY R. CHIPMAN

S

Shelby R. Chipman, PhD, is director of bands and professor of music at Florida A&M University. Additionally, he serves

as director of the marching and pep bands, wind symphony, symphonic band and string ensemble. He received BS degrees in computer science and music education from Florida A&M

University. Dr. Chipman completed the MME degree at the University of Illinois and received the PhD in music education from Florida State University.

Prior to his appointment at FAMU, Dr. Chipman taught music

in the Miami-Dade County Public School system for 10 years.

His band program at Miami Central High School was developed

into one of the finest band programs in the country. In his tenure in Miami-Dade County Public Schools, he served as district

secretary, chairman, ethics, all-state and the executive board of

Florida Bandmasters Association. He has coordinated numerous

band festivals and other major instrumental music events. He has presented music education and conducting clinics on several

public school and college campuses, as well as given lectures at the FMEA Professional Development Conference and the

Midwest Clinic in Chicago. He currently serves as the collegiate advisor of the Florida Collegiate National Association for Music

enhance this experience. My mission will be to ensure that this

and the recently appointed chair-elect of Collegiate NAfME and

development.

Education, is the Southern Division: NAfME advisor of 13 states is an active adjudicator and clinician throughout the southeast-

great organization remains on the cutting edge of professional

In Vision 2020, Spearman identifies the societal and techno-

ern United States.

logical advances that will affect teaching music education. The

Vision

stay abreast of the ethnic diversities, language nuances, school

sole responsibility lies in the direction of music educators to

My vision for FMEA is embedded in the organization’s mission

statement, which is to advance music education by encouraging the study and making of music by all. As a young, developing music educator, I experienced firsthand the personal joy of mak-

ing music, and now I have committed my entire life to making and teaching music. While the innate, non-teachable qualities of the aesthetic experience are endowed to every human being, I know that music possesses many teachable attributes that will

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curricular and concepts taught, especially related to music education. We must become skillfully knowledgeable about why music, why music in schools, what music, who should teach and

who should learn in order for the philosophical strengthening of our profession, which will allow music to prosper forever.

More importantly, going back to the basics will provide a good balance to enriching the lives of students and music education in Florida.

F M E A P R E S I D E N T- E L E C T C A N D I DAT E

SCOTT EVANS

S

Scott Evans is the senior director of visu-

al and performing arts for Orange County

Public Schools, where he supports the work of 700 arts educators and more than 160,000

arts students. Scott believes that all students, regardless of ethnicity or socioeconomic status, deserve equitable access to the highest

quality arts education taught by best-in-field,

certified arts teachers. He has worked toward this goal over the past eight years and suc-

ceeded in bringing the arts to every school by strategically advocating to the school board,

principals, district leadership and the community.

Scott received his bachelor’s degree from

the University of Massachusetts and his mas-

ter’s degree from the University of Central Florida. In addition to his work with the

school district, Scott serves on the boards

of several local arts organizations in order

to nurture healthy, lasting partnerships designed to enhance arts learning opportunities for all students. Scott also currently serves as president of the Florida Music Supervision Association.

Vision

All students, regardless of ethnicity or socio-

economic status, deserve equitable access to the highest quality music education taught by best-in-field, certified music teachers.

November 2018

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F VA P R E S I D E N T - E L E C T C A N D I D A T E S

Rebecca G. Hammac Rebecca G. Hammac is a graduate of the Loyola University

New Orleans School of Music. For 14 years she has had the privilege of teaching middle school, 12 of those years

at Southwest Middle School in Orlando. She is in her

third year as associate choral director at Dr. Phillips High School, the Visual Performing Arts Magnet for Orange County Public Schools.

Mrs. Hammac is an active member in good standing in

Jeannine Stemmer

several professional organizations, among them FMEA,

Jeannine Stemmer is a graduate of Florida International

Executive Board for 11 years as chairwoman for District

degree in music education from Florida International

NAfME, FVA and ACDA, and she has served on the FVA 8, clinics chairwoman and middle school all-state chairwoman. Mrs. Hammac is an active clinician, adjudicator

and conductor, and she has served in those capacities

throughout Florida. She is also the recipient of the 2011

University, certified in music, K-12 and holds a master’s University. She is a board-approved Florida Vocal

Association adjudicator and is the Florida Vocal Association middle school chairwoman.

Mrs. Stemmer is in her 20th year as director of choral

FMEA Emerging Leader Award, and she participated in

and vocal studies at Florida Christian School in Miami.

Institute for Choral Educators at MSU in 2018.

the ladies senior high chorus, the senior high mixed con-

the FMEA Summer Institute in 2015 as well as the CME Mrs. Hammac has had the honor of leading her ensem-

bles at the FMEA Professional Development Conference (2013) and Florida ACDA (2017) and has received superior

She conducts the sixth, seventh and eighth grade chorus,

cert chorus, an advanced ladies ensemble and an 80-voice elementary chorus.

Mrs. Stemmer has been honored to be a guest clinician

ratings consistently at FVA MPA since 2002 and superior

in Miami-Dade, Santa Rosa, Escambia, Polk, Broward and

Mrs. Hammac would like to thank her husband, Rusty

in the worship ministry at Christ Fellowship church in

with distinction in 2018.

Hammac; her children, Ellie and Lucas; and her parents,

Miriam and Jose, for their constant support in her career and life.

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Okaloosa county honor choirs. She is a leader and vocalist Palmetto Bay.

Mrs. Stemmer is the wife of Scott and the proud mother

of 14-year-old Charles and 11-year-old Samuel.

F VA M I D D L E S C H O O L C H A I R - E L E C T C A N D I D A T E S

Andrea Peacock Andrea Peacock graduated from the University of South Florida with the BS in music education. She has been the director of choral

activities at Guy O. Burns Middle School in Brandon, Florida, for 15 years. While at Burns Middle School, Ms. Peacock has grown

the choral department by leaps and bounds. Her choirs are consistently rated superior at district music performance assessments

and were recognized as a choir of distinction in 2017. Many of her students participate in the Hillsborough All-County Choir; the

FMEA All-State Chorus; and ACDA state, regional and national choirs each year.

Ms. Peacock has served Hillsborough County/District 7 as an

all-county chairwoman, FVA district coordinator and FVA district chairwoman on the

Cathy Montero Cathy Montero earned her music education

degree from the University of Miami. During the past 30 years, she has taught general music,

band, chorus and piano to students from pre-

school to 12th grade. She has directed choirs with the Miami Children’s Chorus, Lake Wales Youth

Chorale, Promise Keepers and church choirs of all ages. Her choirs have performed at the

Straz Center, Carnegie Hall, Epcot’s Candlelight

Procession and Universal Studios and at Bok Tower Historic Singing Gardens in Central

Florida for its 75th and 80th anniversaries. It was the first choir ever to be accompanied live by

FVA Executive Board.

She serves her school as

the Social and Emotional Learning

Champion

and is actively involved in many events on her campus. Ms. Peacock has

served as an all-county clinician, FVA solo & ensemble MPA adjudica-

tor and FVA choral MPA adjudicator.

She

also

served as a section leader and performer with the Master Chorale of Tampa Bay.

In her spare time, Ms.

the tower carillon. Her choirs perform regularly

Peacock enjoys spending

earn superior ratings at MPA.

Nathan, 11. Her children have also been involved in all-county,

at community and civic events and consistently Cathy is the FVA chairwoman for her district

and a former district coordinator. She has served

as a middle school all-county chorus clinician.

She teaches chorus and piano at Dundee Ridge

time with her three amazing children: Jonah, 15; Madeline, 13; and

all-state and ACDA choirs throughout the years. If asked, they all

will say that playing cards at the dinner table is definitely their favorite pastime.

If elected as FVA middle school chair-elect, Ms. Peacock plans

Middle Academy in Polk County, where she is on

to increase the voice of the middle school/junior high students

induction coordinator.

and innovative ways of making FVA an even stronger resource

the school’s leadership team and is the campus Cathy has been married for 31 years and has

five children. All five of her children have performed in all-state choirs, and four have pursued a future in the music field.

and educators on the executive board. She plans to explore new

for middle school/junior high choirs and directors by expanding the incredible work her predecessors have already begun. She is

excited to take on this new challenge and looks forward to serving you and your students in the coming years!

November 2018

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November 2018

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FLORIDA BANDMASTERS ASSOCIATION

2018 Hall of Fame Weekend

T

The School of Music

The 29th annual Florida Bandmasters

presents

Association Hall of Fame Weekend will be held November 10-11, 2018,

on the campus of Stetson University in DeLand, Florida. The weekend

includes a banquet and two concerts to

honor the Roll of Distinction inductees, Delbert Kieffner (posthumously) and

THE TWENTY-NINTH ANNUAL

FLORIDA BANDMASTERS ASSOCIATION HALL OF FAME

Roll of Distinction Concert honoring the 2018 inductees

Julian E. White, and the Hall of Fame inductee, Terry Pattishall.

On Saturday, November 10, at 7:30

pm, the weekend’s activities begin

with the Roll of Distinction concert.

This concert features the Southern

Winds, Douglas L. Phillips, conduc-

tor. A reception follows the concert

in the Marshall and Vera Lea Rinker Welcome Center.

The Hall of Fame banquet is sched-

uled for 12 noon on Sunday, November 11, in the Stetson Room, Carlton Union Building. While the banquet is open to

the public (tickets are $22), reservations are required by November 1.

The Hall of Fame concert is sched-

uled for Sunday, November 11, at 4

pm. This concert features the Stetson

University Symphonic Band, Douglas L.

Phillips, conductor. A reception follows the concert in the Marshall and Vera Lea Rinker Welcome Center.

The Roll of Distinction and Hall of

Delbert Kieffner

Julian E. White

Director of Bands, Edgewater High School

Florida A&M University

(1929-2016)

Director of Bands (Ret.)

Supervisor of Secondary Music, Orange County Public Schools

Fame concerts are held in Lee Chapel –

Elizabeth Hall. These two concerts are free and open to the public.

featuring

Southern Winds

Douglas L. Phillips, Conductor

Saturday, November 10, 2018 • 7:30 pm Lee Chapel – Elizabeth Hall

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FLORIDA BANDMASTERS ASSOCIATION

2018 Hall of Fame Weekend

The School of Music

The brand new Courtyard Marriott

presents

DeLand Historic Downtown (308 N.

Woodland Blvd., DeLand, FL 32720)

THE TWENTY-NINTH ANNUAL

is holding a block of rooms until

FLORIDA BANDMASTERS ASSOCIATION

November 1 at a discounted rate of

«« To make reservations online,

Hall of Fame Concert

$129 a night.

honoring the 2018 inductee

please visit the hotel’s website: www.Marriott.com/dabdl

• To reserve a KING BED, under the section where dates are

entered, click on the “Special Rate” drop down menu and select “Group Code.” Enter

FBAFBAA to access the dis-

counted rate for a king bed.

• To reserve TWO QUEEN BEDS, under the section

where dates are entered, click on the “Special Rate” drop

down menu and select “Group Code.” Enter FBAFBAB to

access the discounted rate for

«« To make reservations over the two queen beds.

phone, please call Marriott

Terry Pattishall

reservations at 1-888-236-2427

Director of Bands (Ret.)

and ask for the FBA (Florida

Lake Mary High School

Bandmasters) discounted rate.

For additional information regard-

ing the Hall of Fame Weekend activ-

ities and to make reservations for the banquet, please contact Dr. Douglas

featuring

Phillips by email (dlphilli@stetson. edu) or by phone (386-822-8951).

Stetson University Symphonic Band Douglas L. Phillips, Conductor

Sunday, November 11, 2018 - 4 pm Lee Chapel – Elizabeth Hall

November 2018

19

Shall We Dance …

by Jason Thomashefsky, Chairman, FEMEA District 2

Introduction

Music should make us want to move, but

afterthought, as it is a habit that becomes

to music education, the encouragement

We love to move. Movement is often an effortless. From the moment we first hear

music as babies, we begin to feel the need to shake, bounce, twirl and slide. Dance.

“The art of dance is defined as a human language made up of body movements

in time and space with the investment of effort, which are not aimed at perform-

ing daily work” (Perlshtein, 2016). The ability to dance is often linked to musi-

20 F l o r i d a

cianship development (Mengini, 2008).

Music Director

as we push a more formalized approach to move in our classrooms declines. As music educators we may pigeonhole

our musical instruction by focusing on one element of music at a time. Many

music classrooms have adapted the all too commonly used “sit and get” method of explicit learning (Dolcourt, 2000).

This detriment to the development of

the whole child can easily be remedied through the incorporation of kinesthetic

Yes, We Should and dance activities into band, choir,

dance. Implicit learning, more physical/

whole has a tremendous impact on the

Goodkin (2010) writes that music

learning process than the traditional

students; moreover, self-esteem relat-

orchestra and general music classrooms.

should always encompass all of the factors associated with the art form. Speech,

movement, dance, drama and play are

associated practices that often are part of a communal gathering experience. Music in many cultures is not limited to just

one aspect of performance. Throughout history, dance and music have been aesthetics that are interchangeable in mean-

ing. Music makers in many cultural tra-

ditions use one word to describe the act and art of play, music and dance (Trehub,

Becker, & Morley, 2015). In addition, the

urge to move musically is almost universal across all cultures (Levitin, et al.,

2018). Dance is part of the human experi-

ence and is seen in some shape and form from each individual. The social cues of dancing need to be nurtured by the

arts educator. Dance in music education classrooms can be the cultural link that activates and develops higher levels of musicianship, facili-

hands-on learning, is a more reliable

development of the self of school-aged

explicit learning approach. Kinesthetic

ed behaviors and perceptions skyrock-

movement and implicit learning go hand

et after recreational community dance

and hand, states neuroscientist Arthur

activities (Lovatt, 2011). Further, the more

Reber. Reber (1993) says that “unlike con-

frequent the incorporation of movement,

temporary approaches to pedagogy and

the more connected emotionally the stu-

instruction, the results from the studies

dents become with their emotional selves.

on implicit learning suggest that school

curricula should be modified to include

Movement for Academics and the

movement. Furthermore, the incorpora-

The benefits of music education for aca-

more exposure towards kinesthetic

Classroom

tion of dance in instruction has a positive

demic performance are unparalleled.

association with increased learning pro-

Music education, through whole

cesses such as generalizations, imitation

brain instruction, can enhance all

learning, linguistic/logical associations,

Continued on page 22

procedural learning, spatial/episodic encoding, and emotional binding” (Jensen, 2001). Artsbased classrooms can easily incorporate these variables,

due to the inherent, natural connection between music/ arts and dance movement.

tates social and cultural skills and provides for motivational development.

Movement and the Brain

In social psychology,

Dancing in an educational setting engag-

one of the most talked about

have long-lasting positive effects on the

self. The self is defined as an individ-

es multiple regions of the brain and can brain’s development. General learning,

memory patterns and social-psychological development are impacted in dif-

ferent ways by the use of kinesthetic elements in the classroom. Many regions

of the cerebral cortex are active during movement and kinesthetic activities like

topics is the development of the

ual’s views and positions about who he

is and the variables of social influences on him (Dweck & Grant, 2008). As a

person’s self-concept improves, she can demonstrate greater mastery over her life

from an emotional and behavioral stand-

point (Jensen, 2001). Arts education as a

November 2018

21

Shall We Dance …

Yes, We Should Continued from page 21 cognition systems, ranging from math

processing to creativity and problem solving (Jensen, 2001). The benefits of

dance education on academic develop-

ment are similar and even more specific

than that of music education as a whole.

Perlshtein (2016) describes dance’s impact

on education as a whole as “an integration of the arts with the core subjects [that]

enhances learning and improves pupils’ understanding and achievements, due to the use of a variety of learning skills

and teaching styles, which characterize

the study of the arts. Dance contributes to the study of general subject-matters since

in this art all senses, and not cognition alone, partake experientially in the pro-

cessing of contents.” Teaching dance to children can work on learning systems that impact academic performance such

as risk taking, problem solving and team development (Miles, 2017).

There is a connection between the

ability to feel space, time, weight and shape through movement and the ability

to read and communicate music correctly.

Teachers often, however, use movement

as only a means to pass the time or to redirect behavior. Goodkin (2013) writes that “movement in the music class in not

merely an outlet for children to release their abundant energy. Its purpose is

to shape the body as an instrument of expression.”

Through

incorporating

dance movement into any musical discipline, students can further develop any

musical skill. Targeted beat movement

in ensemble classrooms will facilitate the ability to subdivide and to gain a general

sense of pulse in any meter (Conway, Marshall, & Hartz, 2014). Individuals looking for further information on the

basics of movement and musicianship should consult the seminal work of Rudolf Laban.

22 F l o r i d a

Conclusion

In a recent workshop (2018), Dr. Patricia

tiveness. Journal of Continuing Education in the Health Professions, 20(3), 156-163.

Gingras of Florida Gulf Coast University

Dweck, C. S., & Grant, H. (2008). Self-theories, goals, and meaning. Handbook of motivation science, 405-416.

when communities dance together. It is

Gingras, P. (2018, September 22) Group Workshop Presentation.

spoke about the happiness people feel hard to engage fully in the beauty and artistry associated with kinesthetic

Goodkin, D. (2006). The ABC’s of Education: A Primer for Schools to Come. Pentatonic Press.

Researchers can list the benefits of dance

Jensen, E. (2001). Arts with the brain in mind.

ASCD.

dance

activities

and

not

smile.

in the classroom and their connections

with a variety of variables, but most important, dance is fun. When something

is fun, we typically do not want to stop.

Imagine the energy and motivation we would create in our classrooms if we got up and danced every once in a while.

Jason Thomashefsky is the music teacher at Rayma C. Page Elementary School in Ft.

Myers. He earned the PhD in education-

al leadership and neuroscience from Nova Southeastern University.

References Conway, C., Marshall, H., & Hartz, B. (2014).

Movement instruction to facilitate beat competency in instrumental music. Music Educators Journal, 100(3), 61-66.

Dolcourt, J. L. (2000). Commitment to change: a strategy for promoting educational effec-

Music Director

Levitin, D. J., Grahn, J. A., & London, J. (2018).

The psychology of music: Rhythm and movement. Annual review of psychology, 69, 51-75.

Lovatt, P. (2011). Dance confidence, age and gender. Personality and Individual Differences, 50(5), 668-672.

Mengni, L. I. U. (2008). On the Cultivation of Musicianship in Dancing Teaching. Journal of Guizhou University (Art Edition), 2, 021.

Miles, T. (2017). Success through Dancing: Teaching Skills and Awakening Young Souls. Odyssey: New Directions in Deaf Education, 18, 54-57.

Perlshtein, T. (2016). Contribution of Dance Studies from the Point of View of Religious Dance Teachers in Formal Education.

Universal Journal of Educational Research, 4(9), 2100-2109.

Reber, A. S. (1993). Implicit Learning and Tacit Knowledge: An Essay on the Cognitive Unconscious (Oxford Psychology Series, No 19).

Trehub, S. E., Becker, J., & Morley, I. (2015).

Cross-cultural perspectives on music and musicality. Phil. Trans. R. Soc. B, 370(1664), 20140096.

Lessons Learned From Teaching in a Low-Socioeconomic High School PART ONE

O

by Robert Clark, PhD

One of the most challenging and reward-

nic population, offered the International

clothing for concerts, but these prob-

came when I accepted a teaching position

programs and had thriving arts programs

were easily resolved. In many ways, that

ing experiences in my teaching career at a small rural high school in northwest

Georgia. I was leaving the Florida suburbs

where I had taught at a large high school that served mostly middle-class families.

That school had a moderately diverse eth-

lems seemed few and far between and

Baccalaureate and Advanced Placement

school seemed like an ideal situation.

that included band, chorus, orchestra and

By sharp contrast, most of the stu-

musical theatre. There were always a few students who might not be able to afford

dents at my new school could not afford

rides to practices or finding appropriate

Continued on page 24

the already low $75 band fee, making

band fees, who struggled with getting

November 2018

23

Escaping the Oppressive Classroom Continued from page 23

fund-raising the primary means of financing the costs of the band. Due to the rural location of the school, many

students rode buses for as long as an hour one way, and parents needed to

drop students off at school as early as 5:30 am so they could drive long dis-

tances to their places of employment.

Some students struggled with arranging

transportation, which in turn affected available after-school rehearsal times, rehearsal attendance and the overall

membership of the band, as some parents were not able or willing to drive to

presented themselves to me had to do

were coming to band were carrying a

a middle-class school and how I needed

dents I had taught in the past, mostly as

with how I was accustomed to teaching in

to change my teaching for a low-socioeco-

nomic (low-SES) school. It should be noted that all schools are different and low-SES

is only one variable upon which others sometimes get piled up. For instance, the school may be low-SES and the school

population may be primarily one eth-

nicity (the population of my school was almost completely white). Language barriers, school size, regional characteristics,

zoning, state and national politics and

the values of administrations make up only a handful of the variables that lead

to a complex and textured school cul-

ture. Yet socioeconomic status has been

researched widely and the implications of low-SES have been reported. This 1

pick up students from rehearsals and

article is an attempt to share a few of

salient, though, were some of the charac-

working in a low-SES school.

performances outside of class time. More teristics of low-socioeconomic schools,

the learning experiences I gained while

There were new issues that called for

which I observed firsthand in the lives of

adaptations in my approach to the music

single-parent homes and students living

paradigms of: 1) the responsibilities of

my students. These included high rates of with extended family or in non-family

households. In my first year, approxi-

mately 10% of the students in the band

were living in foster homes. Additionally, rates of teen pregnancy, drug use, violence and disciplinary action at school

were high, and all affected numerous students in our band.

School situations like the one I am

describing often seem to be full of things we cannot control and get filed into the

“Ain’t it awful?” category, and so we

shake our heads and bemoan budget cuts, financial concerns, poor parenting

or the various shortcomings of society.

I found, however, that there were some

things I could control: the issues that

24 F l o r i d a

classroom and in a reorientation in my

lot of personal baggage compared to stua consequence of the realities of low-SES

communities. In my mind and actions, I had to make a transition into a teacher role that was not just about preparing performances, but mostly occupied with

serving my students’ needs. My job was still about making the best music possible, but I was also responsible for fulfill-

ing some roles of parent, mentor, advisor, counselor and therapist. This change of

paradigm was a first, important transi-

tional step in my teaching at a low-SES

school, and I realize that even admitting such possibly conjures the image of an

egotistical, tyrannical, narcissistic mae-

stro (for instance, the teacher in the movie Whiplash). But I doubt that very many of

us, if any, in the music teaching profession even come close to that, and I did

not, either. The bottom line, though, was that I had to begin by changing my perception of myself from leader of the band to leader of the kids.

In my zeal to bring about fast change

a teacher; and 2) my relationship to stu-

and build our band program, I had to

I taught in a school where most of my

question “what are the problems in my

dents. It is difficult to admit, but when students were studying privately, the

students had become something like a part of my own musical and artistic

goals. This is not to imply that I treated

them strictly as a means to an end or that I did not value them and cultivate relationships with them—I loved all of

my students! When I arrived at the lowSES school, however, it occurred to me that my paradigm for musical accom-

plishment had to shift. For one thing,

the band was in need of my best efforts in recruitment and pedagogically sound

teaching. For another, the students who

Music Director

begin giving serious consideration to the band?” Clifford Madsen has noted there are two basic problems in school: aca-

demic and social.2 We probably all knew

the student in college who failed the

8 am theory class, not because he could not comprehend the music theory (aca-

demic) but because he could not get to class on time (social). It seems that a large portion of the problems in school

have to do with social concerns, and as teachers, this is especially important to

how we structure our classroom environment and culture. My students exhibited the ability to learn key signatures,

to count and notate rhythms

and to describe the expressive elements of a piece when the

information had been taught effectively

and

sequenced

appropriately. The reality was

that almost all of my students’ and the band’s problems were social. In his 2016 New York

Times best-selling book For

White Folks Who Teach in the Hood (and the Rest of

Y’all Too), Christopher Emdin outlines some characteristic practices of teaching and discipline in urban, low-SES schools, which he calls the pedagogy of poverty.3 I found that

many of the characteristics he identifies of low-SES schools

resonated with my own experiences, especially in the ways those schools address social issues. Among the consequences of a pedagogy of poverty are environments and attitudes

that Emdin describes as “oppressive classrooms” and “the

lowered bar.” The rest of this article will focus on strategies to avoid an oppressive classroom.

Escaping the Oppressive Classroom

When compared to middle- or high-SES communities, low-SES school populations are often composed of mostly

non-white minorities; have higher rates of students living in one-parent households or being raised by extended- or

non-family members; have greater numbers of students expelled and arrested at school; and have greater occurrences of teen pregnancy, drug and alcohol use, violence

and referrals for discipline. As Emdin notes, in an effort

to control the behaviors of students, schools can become oppressive.4 I learned four valuable strategies to avoid hav-

ing my band room turn into an oppressive classroom: 1) the

rule of one; 2) confrontation control; 3) teaching students to accept teacher feedback; and 4) regularly checking my own rigid orthodoxies.

I encountered quite a few students who displayed embed-

ded defiance: a sense of anger that seemed to emit from

the student, especially when interacting with teachers or authority figures. Students might seem to be having an

otherwise pleasant day until I reminded them that food

and drink were not allowed in the band room. I would be

Continued on page 26

November 2018

25

Escaping the Oppressive Classroom Continued from page 25

Escaping the Oppressive Classroom Continued from page 25

almost immediately met with a too-angry “Why?” I realized that these same

students were having the same reaction

regularly, regardless of the rule (food and drink, putting backpack away, being late to rehearsal, not having music, etc.).

I also realized that these same students

were having even greater problems with

other teachers, usually starting the same way as they did with me (“Why? That’s not fair!”) and quickly devolving into arguing in front of other students until

reaching a point where the students were

often sent to the dean’s office. These specific students had similar living situa-

tions in which parents were either absent or irregular (father in prison, both parents in prison, foster home, living with

a grandmother or with extended family, alone with no family, parents who come

and go without notice). All of them had a simmering anger just below the surface that had to do with a lack of trusting

relationships with adults. I realized that

for these students, a classroom in which

the expectations seemed to be irregular or the teacher unpredictable functioned

as just another flawed relationship with an adult.

I found the following four ideas help-

ful in avoiding an oppressive classroom environment:

1. Establish the Rule of One

Instead of having many rules, we established only the “rule of one.” That one rule was respect: for self, others, the

band, facilities and equipment. We started the year by going over procedures

26 F l o r i d a

(what to do at the beginning of rehearsal,

model, and so discipline was generally

cept of respect. I spent the first couple of

being chastised and embarrassed, and

for instance) and establishing the conweeks going over procedures daily, often

revisiting the concept of the rule of one.

Early in the year, I began to engage stu-

dents in helping to define some specific

behaviors that would signify respect. In

some cases, students were allowed to set some specific rules that would fall under

the rule of one—for instance, we had a

locker room for the low brass players where tubas, euphoniums and trombones

heavy-handed. Students were used to engaging in confrontations with a teacher had been reinforced by the reward of

impressing fellow students, making them laugh, winning a debate with the teacher,

receiving attention (many students will

do anything for any attention) and even getting the pseudo-approval of going to in-school suspension (i.e., a break from class!).

I found that the most important step

were stored. Those students were allowed

to avoiding or quickly neutralizing con-

those rules reflected respect. They chose

the audience from the student. In other

to set the rules for their room, as long as

to have no food or drink and to require

lockers to be neat and clean. These stu-

dents often enforced their own rules, and I found that if I did have to speak to

them about breaking a rule, they stopped

responding with anger. Reducing rules

to one concept and allowing students to have some ownership in the ways in which respect could be exhibited trans-

formed the student-teacher dynamic in our band room. On the one hand, I was

freed from being a tyrant or a nag, and on the other, the students accepted the

frontation had to do with taking away words, I learned to speak mostly one-onone with students, either quickly pulling

them aside while everyone else had a task

(“Practice measures 40-67 on your own

for a couple of minutes …”), after/before

class or outside of school. Ensuring there was no audience removed the element of peer reinforcement and allowed can-

did communication with students, which often built a trusting relationship—something that was in short order for many of these students.

responsibility of defining the rules for

3. Teach Students How to Respond

2. Remove the Audience to Avoid/

In my first year at the school, I found that

our band room.

Neutralize Confrontation

Along with the embedded defiance that I observed in some students came the pos-

sibility of confrontation. For the defiant student, confrontations were not just an

expression of an underlying anger, but they also offered opportunities to earn

social credit by taking on the teacher.

I was caught off guard by this fact the

first couple of times I became involved in unintended confrontations with students.

The school environment was already bordering on the oppressive classroom

Music Director

to Feedback

some students seemed touchy or sensitive when I was providing feedback in class.

Just tuning an individual note or adjust-

ing an interval in marching band seemed to upset certain students. I realized my

students needed to be taught how to respond to feedback. I regularly had to teach and review various styles of teacher feedback. For instance, we had to dis-

cuss musical corrections (“you are out of tune”) versus academic corrections (“that is the wrong fingering”) versus social

interactions (“I need you to stop talking”).

An overarching theme was also person-

prised by the answer: “Can you give us 3

I learned while teaching in a low-SES

my students who struggled with adult

meant that I had heard them and made a

of teacher while controlling those things

al versus impersonal intentions. Many of relationships were confused about the intentions of adults: “If you’re correcting

me, then you must be attacking me.”

Clarification of intentions, learning how to respond to feedback and constantly referring back to our one rule (respect)

reduced misunderstandings and hurt feelings, and continued building trusting relationships. These skills were also

important transfers to other classes and relationships with other teachers.

4. Check One’s Own Rigid Orthodoxies

Another important adaptation that I had

to make was a constant check of my own rigid orthodoxies. These are the is/ought sort of ideas that we all bring to our

classrooms, often gained through our own experiences and built into our value

systems. Often these ideas are what we insist upon and are not willing to com-

promise. For instance, I wanted a quiet and fast-paced rehearsal. There is abso-

lutely nothing wrong with demanding

this type of focused work from students; however, I also had classes on a 90-min-

ute block schedule, and I felt like I had to teach so many concepts to catch them up while also being somewhat afraid of

or 4 minutes?” To them, the 3 or 4 minutes compromise, that a teacher was listening

I learned this because I met with student

leaders regularly for input. Their request

was simply a small amount of down

time to stand up, stretch, get a drink and socialize. I hated this idea, but when I

asked how long they needed I was sur-

may sometimes seem a hopeless cause, it

students about rules and consequences

is important to remember that the experi-

(especially in marching band), stands

ences with music in our programs—aca-

music and more. Giving up little pieces

demic and social—could be the impetus

of control is scary, and of course there is

for lasting change in a student’s life.

always the time when the teacher must

In part two of this series, I will share

be firm, but I observed that students

some ideas that I found helpful in raising

had ownership in parts of the band pro-

common to schools operating under a

who felt their voices were heard and who

the lowered bar, another characteristic

gram became increasingly trustworthy

pedagogy of poverty.

and responsible. By contrast, I observed

students in classes where the iron-fist

Robert

SES schools was being implemented, and

mental music education

method of control consistent with low-

Clark,

PhD,

serves as director of instru-

I saw contempt for the teacher, recurrent

at Georgia Southwestern

discipline problems and worst of all, a

State

complete lack of interest in the subject.

University

in

Americus. His teaching

It was eye-opening and disappointing

responsibilities

to see some of my best students in band

include

conducting the Southwestern Winds, courses

respond completely differently in anoth-

in conducting and music education and pri-

er class. Those teachers often came to me

vate trumpet instruction. He has taught band,

complaining about the student, wanting

orchestra and chorus in the public schools of

my help. Of course, I spoke to the student

Duval County and Brevard County, Florida,

and used my influence as best I could,

and Walker County, Georgia. Dr. Clark is a

but the underlying issue was always the

graduate of Florida State University.

difference in learning environments.

Many students who were defiant or

“flag waving” behavior.5 Unfortunately,

ing them without showing appreciation.

While teaching in a challenging situation

gram. The same process was used to hear

bringing a lot of energy and enthusiasm

were feeling like I was constantly push-

and the environment in my classroom.

them some ownership of the band pro-

acted out seemed to be engaging in what

to the class, but I learned that students

I could. What could I control? My attitude

to them, valuing their input and giving

allowing them to have any unstructured moments. From my perspective, I was

school had to do with managing the roles

Endnotes 1 For research and insight into this topic, see Ruby Payne’s A Framework for Understanding Poverty: A Cognitive Approach. Highlands, Texas: Aha! Process, Inc., 2013.

psychologist Richard O’Connor called

this is often dismissed as attention seek-

2 Charles Madsen and Clifford Madsen, Teaching/ Discipline: A Positive Approach for Educational Development (Raleigh: Contemporary Publishing Company, 2016), 35-37.

ing, but is probably more accurately described with the cliché “a cry for help.”

As O’Connor noted, the student is look-

3 Christopher Emdin, For White Folks Who Teach in the Hood (And the Rest of Y’all Too): Reality Pedagogy and Urban Education (Boston: Beacon Press, 2016), 12, 32, 120-128.

ing for someone to “love them enough” to

help them adjust their behaviors. In this light, it is important to remember that

4

we as teachers fulfill many roles for our

Ibid., 12-20, 54.

Richard O’Connor, Rewire (New York: Plume, 2014), 115.

5

students. Probably the greatest lessons

November 2018

27

ARTISTRY:

Teaching &Performing

2019 CONFERENCE REGISTRATION All registration information must be entered online at fmea. org/conference. At the end of the online form, you will have the opportunity to print an invoice to send in with a check until one week before the preregistration deadline or to pay online instantly with a credit card until the preregistration deadline.

PLEASE NOTE: Exhibitors will scan the barcode on your badge. Students and chaperones will also have a barcode on their badges. In order for them to receive information from the exhibitors, we ask you to provide the ACTUAL MAILING and EMAIL ADDRESSES for each of your students and chaperones.

28 F l o r i d a

Music Director

2019 FMEA Professional Development Conference & All-State Concerts January 9-12, 2019

Tampa Convention Center

REGISTER FOR CONFERENCE

Registration Fees and Procedures

The following information is for your information only, and is not an invoice for registration. Register for the conference online at flmusiced.org/flmusicapps/conference/register.

DESCRIPTION

Director/Member

Collegiate Member

Retired Member

Preregistration (Sept. 22 - Dec. 7)

On-Site Registration

$50

$80

$130 $0

$160 $0

Non-Teaching Spouse

$65

$90

Paid Chaperone

$45

$65

All-State Student

$55

$85

Non-Teaching Spouse of Retired Member Free Chaperone

$0

$0

$0

$0

Tri-M Student

$30

$30

Preconference Workshop (First-Year Teachers)

$25

$25

Preconference Workshop Concert Tickets

VIP Member

VIP Preconference Workshop

Leadership Workshop Student

Leadership Workshop Chaperone

Student Experience - Student

Student Experience - Chaperone

$50 $15 $0 $0

$30 $0

$30

$30

$60 $15 $0

$0

$30 $0

$30

$30

To take advantage of early discounted rates, you must register and pay before the deadline. If you are

mailing a check to the FMEA office to pay for your registration, it must be postmarked SEVEN DAYS BEFORE the preregistration deadline.

November 2018

29

ARTISTRY:

Teaching &Performing

Registration Policies 1. All participants—directors, students, chaperones and guests—must be registered for the conference.

2. Only directors may register their groups or pick up registration materials if preregistered.

3. All participating students must be chaperoned. As required by the Florida School Music Association, at least one chaperone, other than a director, is required for every 10 students

or fraction thereof; however, FMEA policy allows for one free chaperone for every six students or fraction thereof.

4. An additional paid chaperone may be registered for (a) each six students registered or (b) for each all-state rehearsal site where registered students are performing.

5. If a participating student is not accompanied by the direc-

6. Student observers are not allowed to attend the conference.

If any student observers are brought to the conference, the offending school’s participation in the conference may be eliminated the following year. (Tri-M students registered and

participating in sessions or working for the all-state concerts are exempt from this rule.)

tor from that student’s school, then the principal from that

7. All school music teachers must register for the confer-

school or school district who is to be in charge of that student.

FMEA. This includes directors of invited performing groups,

school must furnish a letter designating the person from the The letter shall be addressed to the FMEA executive director, must explain the extenuating circumstances preventing the

director from attending and must be submitted with registration materials. The school will be notified of approval.

ence as FMEA directors and must be current members of

mini-concerts and session presenters. All-state conductors from Florida schools, colleges or universities must also be FMEA members. No current music teacher may register as a chaperone.

Concerts at the Straz Performing Arts Center If tickets have not been purchased for them by a registered director, all nonregistered attendees (parents, family members, guests, etc.) may pur-

chase tickets for any Straz concert they wish to attend at $15 per ticket

at the FMEA registration desk between 11 am on Thursday and 7 pm on Friday. Starting at 9 am on Saturday, all remaining tickets for Straz con-

certs will be sold outside of the Straz Performing Arts Center.

Registered (BADGED) conference attendees no longer need to pick up free

tickets in advance.

There will be a separate line for badged attendees. An FMEA staff

member or volunteer will be standing at the front of this line leading into the Straz center to distribute tickets to badged attendees as they walk into

the performing arts center. Only one ticket per badged person will be dis-

tributed, and that person must immediately walk into the Straz center and give the ticket to the Straz staff member who is collecting tickets.

30 F l o r i d a

Music Director

All-State Ticket Policy 1. Registered (BADGED) attendees do not require tickets to attend any all-state concert. This includes directors/members, directors’ non-teaching spouses, performing all-state

students, registered chaperones, collegiate student members, retired members and VIP guests that you entered as part of your conference registration.

2. All nonregistered (NONBADGED) attendees (parents, family

members, guests, etc.) are required to purchase tickets for any all-state concert they wish to attend at $15 per ticket.

3. There are no free or allotted tickets. All concert attendees

must either wear their conference badge or purchase a ticket.

4. A director who preregisters online may reserve and prepay for all-state concert tickets for nonregistered attendees for concerts in which he or she has registered all-state students.

If paid for online, these tickets will be preloaded into the director’s registration package.

5. A director who registers on site may purchase all-state con-

cert tickets for nonregistered attendees for concerts in which he or she has registered all-state students during the on-site registration process.

6. A director with all-state students may purchase additional

concert tickets for nonregistered attendees for concerts in which he or she has performing students at the conference on-site registration desk or at a designated ticket sales loca-

tion at any time.

7. General ticket sales for all-state concerts will begin at 11

am on Thursday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person to purchase tickets after this time.

8. All ticket sales are final. Concert tickets are non-refundable.

9. For entrance, ticketing and concert purposes, a concert is defined as the pair of ensembles that are performing in the

same venue in a common, defined block of time. An example of a concert for purposes of entrance, ticketing, etc., is the 2 pm concert on Saturday for the Middle School Honors Band and the High School Honors Band.

November 2018

31

ARTISTRY:

Teaching &Performing

Refund Policies 1. Full registration refunds are available for cancellation requests made through December 15, 2018.

2. No registration refunds will be made for cancellations made after December 15, 2018, except for emergency situations.

These will be reviewed on a case-by-case basis.

3. Refunds must be requested in writing (email is acceptable).

4. All requests for refunds must be received no later than January 31, 2019. Requests received after that date will not be processed.

5. All refunds will be issued after the conference is completed.

6. Concert tickets are non-refundable.

Chaperone Registration

Chaperone registration is based on the following rules:

«« For each elementary student registered, one free chaperone and one paid chaperone may be registered. «« Any additional attendees must purchase a guest pass at Elementary Students

on-site registration for entry into the convention center.

«« For every six students registered, one free chaperone and

Middle School and High School Students

one paid chaperone may be registered. No other chaperones

«« Any additional attendees (chaperones or guests) must purmay be registered until the seventh student is registered.

chase a guest pass at on-site registration for entry into the convention center.

«« If you have students in more than one performing ensemble,

EXCEPTIONS

you may pay for a chaperone for each performing ensemble

«« If you have students from different schools, you may pay for in which you have registered students.

a chaperone for each school for which you have registered students.

Frequently Asked Questions Do I get free tickets for my students’ family members to attend the concert?

No. You can pre-order and pay for their tickets when you preregister.

Can I get free tickets to any concerts?

No. Registered attendees (directors, chaperones, students) are allowed admission to concerts with their name badge, so no ticket

is necessary. Attendees who are not registered for the conference (parents, family, etc.) must purchase tickets. At the Straz

Performing Arts Center, registered attendees with their conference name badge will be handed a ticket immediately before they walk in the door.

Can I buy extra tickets any time?

If you are an FMEA member registered for the conference, you

may purchase tickets at the computers in the on-site registration area at any time during the regular registration hours. Everyone else may purchase tickets beginning at 11 am on Thursday.

There are more family members and guests com-

ing to watch my all-state student than I have tickets. How and when do I get tickets for them?

Extra tickets may be purchased when general ticket sales open on

Thursday at 11 am. Tickets will be sold at the main registration area for $15 each.

32 F l o r i d a

Music Director

Hotels Contracted for 2019 FMEA Professional Development Conference

HOTEL – Cutoff date: 11/10/18

Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 DoubleTree by Hilton Tampa Airport Westshore 4500 West Cypress Street, Tampa, FL 33607 Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 Embassy Suites Westshore 555 North Westshore Blvd., Tampa, FL 33609 Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 (includes comp internet) Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 Holiday Inn Tampa Westshore Airport 700 North Westshore Blvd., Tampa, FL 33609 (includes comp internet & parking) Marriott Waterside 700 South Florida Avenue, Tampa, FL 33602 Residence Inn 101 East Tyler Street, Tampa, FL 33602 (includes comp breakfast & internet) Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 Discounted parking: $10 overnight valet only

Single

(813) 223-1351 Group Code: FMEA (813) 229-1100 Group Code: FMEA (813) 879-4800 Group Code: FMEA (813) 769-8300, ext. 1 Group Code: FMEA (800) 749-2974 Group Code: FMEA (888) 627-8261 Group Code: FMEA (800) 445-8667 Group Code: FMEA (800) 315-2621 or (813) 289-8200 Group Code: FMEA (888) 236-2427 Group Code: FMEA (800) 627-7468 Group Code: FMEA

(800) 325-3535 Group Code: FMEA (800) 937-8461 Group Code: FMEA

ROOM RATES Double Triple

Quad

$139

$139

$139

$139

$152

$152

$152

$152

$153

$153

$153

$153

$239

$239

$249

$259

$189

$189

$199

$209

$140

$140

$140

$140

$205

$205

$205

$205

$124

$124

$124

$124

$205

$205

$205

$205

$171

$171

$171

$171

$197

$197

$217

$217

$194

$194

$194

$194

November 2018

33

How Do I Get to the Conference?

Making Your Case to Attend the 2019 FMEA Professional Development Conference

G

Getting approval to attend the Florida

gets in today’s economy, school principals

Development Conference may require

to attend professional development. That

Music Education Association Professional developing a proposal. Due to tight bud-

and districts carefully scrutinize requests does not mean you shouldn’t give it your best effort by showing your administrators how your attendance will benefit

the students in your school. Rather than assuming your administrators are aware of the critical importance of you profes-

sionally benefitting from content-specific

sessions, consider submitting a formal proposal.

Through this proposal you can demon-

strate how your participation directly

relates to the strategies and the objectives of your school (including those beyond the classroom). This will allow you to

articulate the need for your continuing

education and how it will benefit your students, your school and you.

«« Write

Develop Your Case

down three of the most

important goals and strategies being

34 F l o r i d a

addressed in your school’s plan.

Music Director

«« Think about how you personally con-

tribute to those three goals and strategies. How does your work as a music

educator affect the overall mission of

your school? Make a list of your per-

sonal contributions to your school’s

«« Review the conference’s professiongoals and strategies.

al development schedule to better understand how the information

provided will support your school’s goals. Mark meetings that relate to your list of personal contributions

to the attainment of those goals and strategies, and make note of the cli-

nicians and others you will be able to observe and/or with whom you

will be able to interact while at the conference. List the high-quality per-

formances you will observe and from which you will learn. You can down-

Student Leadership WOR K SHOP

Wednesday, January 9, 2019 1 pm-5 pm TCC, Ballroom A Cost: $30 per student Directors and chaperones are FREE

load the conference app from the FMEA’s website and bookmark your

«« Write

sessions.

down your case for how

attending the FMEA Professional Development Conference and meet-

ing the people there will help you contribute to your school’s goals and strategies, and use this case with your

administrators when making your request to attend the conference.

Additionally, let your administrators

know that this conference has more than

10,000 teachers, administrators, students and parents in attendance, making it one of the largest music education conferences in the nation.

Finally, ask your administrators to sup-

Dr. Tim Lautzenheiser

Dr. Tim, as he’s known around the country, asks each student to

bring an open mind and enthusiasm as he discusses the importance of being a leader. This session is for high school student leaders.

port you to attend the 2019 FMEA Professional Development Conference, January 9-12 in Tampa.

November 2018

35

ARTISTRY:

Teaching &Performing

Sneak Peek at FMEA Preconference Wednesday, January 9, 2019 • 1 pm-5 pm

Sessions and Presenters To Be or Not to Bop: Practical Jazz Techniques Every Director Ought to Know

Dr. Mark Belfast

Dr. André Thomas Keynote Address

Associate Professor of Music Education

Owen F. Sellers Professor of Music

Mr. Kenneth Boyd

Assistant Dean College of Arts & Media Southeastern University

Director of Choral Activities & Choral Music Education Florida State University

Ms. Shelby Montgomery

Let’s Get Rock’n: Rock Orchestra Director of Orchestras

George Jenkins High School & Lakeland Highland Middle School

Lakeland, Florida

Dr. Carlos Abril

Movement in the Music Classroom Professor of Music Education Director of Undergraduate Music Education

36 F l o r i d a

University of Miami Music Director

Director of Bands

West Orange High School Winter Garden, Florida

November 2018

37

All-State Rehearsals All-State Concert Chorus

All-State Guitar Ensemble

All-State Middle School Band

REHEARSALS: MW, Grand Ballroom

REHEARSALS: MW

REHEARSALS: HTD, Palma Ceia Ballroom

Thursday.......................................... 8am-8:30am Thursday....................................8:30am-11:30am Thursday..................................... 1:30pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday.........................................8:30am-11:30am Friday............................................... 1:30pm-4pm

Wednesday................................. 7pm-9pm, MW, 8 Thursday...............................8:30am-5pm, MW, 8 Friday...........................................8am-10am, MW, Florida Ballroom, Salons 1-3

Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday..................................................9am-12n

CONCERT: Thursday, January 10, 2019, 12:30pm TCC, 20

CONCERT: Saturday, January 12, 2019, 5pm Straz, Morsani Hall

CONCERT: Saturday, January 12, 2019, 5:30pm TCC, Ballroom A

All-State Concert Orchestra REHEARSALS: MW, Florida Ballroom, Salons 5-6 Thursday...........................................8:15am-9am Thursday................................................1pm-5pm Thursday................................................7pm-9pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday...................................... 7:30am-8:30am

All-State Middle School Jazz Band REHEARSALS: WTW, Conch Wednesday....................................... 2pm-5:30pm Wednesday.............................................7pm-9pm Thursday....................................8:30am-11:30am Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday.................................................8:30am-12n

CONCERT: Saturday, January 12, 2019, 9am TCC, Ballroom A

CONCERT: Friday, January 11, 2019, 7:30pm MW, Grand Ballroom

All-State Elementary Chorus REHEARSALS: TCC, 14 Wednesday.............................................1pm-6pm Thursday.............................................. 8am-11am Thursday..................................11:45am-12:45pm CONCERT: Thursday, January 10, 2019, 1:45pm TCC, Ballroom A

All-State Elementary Orff Ensemble

All-State High School Jazz Band

All-State Middle School Mixed Chorus

REHEARSALS: TCC, 30A

REHEARSALS: HTD, Bayshore Ballroom 1-3

Wednesday....................................... 2pm-5:30pm Wednesday.............................................7pm-9pm Thursday....................................8:30am-11:30am Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday.................................................8:30am-12n

Thursday.........................................12:30pm-1pm Thursday.......................................... 1pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday.........................................8:45am-11:30am Friday.......................................... 1:30pm-4:30pm

CONCERT: Friday, January 11, 2019, 7:30pm MW, Grand Ballroom

All-State Intercollegiate Band REHEARSALS: DW, Lake Forest Ballroom

CONCERT: Saturday, January 12, 2019, 10am Straz, Morsani Hall

All-State Middle School Orchestra REHEARSALS: MW, Meeting Room 8

Thursday................ 10am-11am, TCC, West Hall A Thursday..................11am-6pm, TCC, West Hall A Friday...........................8:30am-10:15am, TCC, 14 Friday....................10:45am-1pm TCC, Ballroom A

Thursday.........................................9am-12:30pm Thursday.......................................... 1:30pm-5pm Thursday.......................................... 7pm-9:30pm Friday.................................................8:30am-12n Friday......................... 3pm-4pm, TCC, Ballroom A

Thursday................................................8am-9am Thursday................................................1pm-5pm Thursday................................................7pm-9pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday.................................................7am-8am

CONCERT: Friday, January 11, 2019, 1:30pm TCC, Ballroom A

CONCERT: Friday, January 11, 2019, 4pm TCC, Ballroom A

CONCERT: Saturday, January 12, 2019, 9am TCC, Ballroom A

REHEARSALS: TCC

38 F l o r i d a

Music Director

ARTISTRY:

Teaching &Performing

All-State Middle School Treble Chorus REHEARSALS: HTD, Bayshore Ballroom 5-7 Thursday..........................................12n-12:30pm Thursday................................... 12:30pm-4:15pm Thursday..................................... 6:15pm-8:45pm Friday.........................................8:30am-11:15am Friday...........................................1:15pm-4:15pm CONCERT: Saturday, January 12, 2019, 10am Straz, Morsani Hall

KEY DW = Doubletree Westshore

SR = Sheraton Riverwalk

ESD = Embassy Suites Downtown

Straz = Straz Performing Arts Center

HTD = Hilton Tampa Downtown

TCC = Tampa Convention Center

MW = Marriott Waterside

WTW = Westin Tampa Waterside

All-State Symphonic Band

High School Honors Orchestra

REHEARSALS: TCC, 22

REHEARSALS: ESD, Skyway Room

Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday..................................................9am-12n

Thursday....................................8:30am-11:30am Thursday................................................1pm-5pm Thursday................................................7pm-9pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday...................................... 7:30am-8:30am

CONCERT: Saturday, January 12, 2019, 5:30pm TCC, Ballroom A

CONCERT: Saturday, January 12, 2019, 4:30pm MW, Grand Ballroom

All-State Symphonic Orchestra

Middle School Honors Band

REHEARSALS: TCC, 24

All-State Reading Chorus REHEARSALS: ESD, Gandy Meeting Room Thursday.......................................... 8am-8:30am Thursday....................................8:30am-11:30am Thursday..................................... 1:30pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday.........................................8:30am-11:30am Friday............................................... 1:30pm-4pm Saturday............10am-11am, MW, Grand Ballroom CONCERT: Friday, January 11, 2019, 6:30pm TCC, Ballroom A

All-State SSAA Chorus REHEARSALS: WTW, Oasis Ballroom

Thursday.........................................9am-11:30am Thursday................................................1pm-5pm Thursday................................................7pm-9pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday...................................... 7:30am-8:30am

REHEARSALS: HTD, Esplanade Suite

CONCERT: Saturday, January 12, 2019, 9am TCC, Ballroom A

CONCERT: Saturday, January 12, 2019, 2pm MW, Grand Ballroom

Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday..................................................9am-12n

All-State TTBB Chorus REHEARSALS: ESD, Bayside Ballroom Thursday.......................................... 8am-8:30am Thursday....................................8:30am-11:30am Thursday..................................... 1:30pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday.........................................8:30am-11:30am Friday.......................................... 1:30pm-4:30pm CONCERT: Saturday, January 12, 2019, 2pm Straz, Morsani Hall

Middle School Honors Orchestra REHEARSALS: SR, Riverview Room

High School Honors Band

Thursday.......................................... 8am-8:30am Thursday....................................8:30am-11:30am Thursday..................................... 1:30pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday.........................................8:30am-11:30am Friday.......................................... 1:30pm-4:30pm

REHEARSALS: SR, Bayshore Ballroom Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday..................................................9am-12n

Thursday.......................................... 8am-8:30am Thursday....................................8:30am-11:30am Thursday................................................1pm-5pm Thursday................................................7pm-9pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday...................................... 7:30am-8:30am

CONCERT: Saturday, January 12, 2019, 2pm Straz, Morsani Hall

CONCERT: Saturday, January 12, 2019, 2pm MW, Grand Ballroom

CONCERT: Saturday, January 12, 2019, 4:30pm MW, Grand Ballroom

November 2018

39

40 F l o r i d a

Music Director

November 2018

41

ComponentNews H

FLORIDA BANDMASTERS ASSOCIATION

Cathi Leibinger, President

aving just wrapped up two week-

room dialect, and Lee Commander is

University) will be conducting the All-

the FMEA board and the FBA clinics

impact on students with special needs

Cross (UCLA) will be conducting the All-

ends of travel around the state for

committee meeting, I am truly amazed at

the dedication and expertise of those who were in those meeting rooms with me.

We wrapped up details for the upcoming

2019 FMEA Professional Development

Conference to be held in Tampa on January 9-12. There is not room to list all

of the sessions planned, but I’m excited to highlight just a few from the list. Tim Groulx is helping coordinate a session with the other components to help music

educators translate administrative evaluation language into the music class-

going to help us strengthen our teaching

in our band rooms. We’ll get a glimpse at Larry Clark’s compositional process while keeping grade-level parameters in

mind. Our past president, Jason Duckett,

is presenting “Beyond the Score: NonMusical Aspects of Concert MPA,” and

you’ll also get a chance to chat with our 2019 FBA summer conference key-

note speaker, Alfred Watkins, in an open forum entitled “Artistry in Action.”

We have some amazing clinicians

working with our student ensembles as well. Dr. Sarah McKoin (Texas Tech

State Symphonic Band, and Dr. Travis State Concert Band and also premiering

a new FBA commission for the ensemble.

The All-State Middle School Band will be

led by Dr. David Hedgecoth (The Ohio State University). The High School Honor

Band will get to learn from Dr. Ryan Kelly (The University of Texas at Austin),

and the Middle School Honor Band will be so fortunate to work with our own

Dr. Ann Adams (LaVilla School of the

Arts). The High School Jazz Band will premiere a new FBA commission written

by its conductor, Andy Baylock (Airmen of Note/University of North Texas), and

the Middle School Jazz Band is going FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Stacie Rossow, DMA, President As we bring this semester to a close, I want to remind you to make your

plans for the FMEA Professional Development Conference in January. We have

carefully selected several sessions that should be meaningful to those of us teaching in higher education. Our Fall Conference discussions centered on the credit-clock and making sure we can provide a quality education given the cur-

rent constraints levied by the Board of Governors. We will have a similar panel/

round-table discussion in January, but the focus will be on courses, curriculum

and credit transfer from two- to four-year institutions. I have asked professors from both two- and four-year schools to guide us through the problems they are

facing and potential solutions, but we want this to be a conversation, as together we are more likely to find solutions and effect change.

In addition, we have three interest sessions that I hope will spark your

creative juices for a new year: “Evaluating Artistry: How Confident Are Evaluators During Brief Observations of Music Teachers?,” “The Student

Teaching Placement: Creating a Mutually Beneficial Experience” and “Teaching for Transfer: Making Every Rehearsal Count.”

I also encourage you to make plans to attend our board meeting, which is

scheduled for Thursday, January 10, at 5:30 pm (see the final schedule for room and confirmation of time). And please—bring a colleague or two and encourage

them to become active members. This organization is our voice in the state discussion, and we play a very important part in the cycle of music education. And Like us on Facebook (@Florida College Music Association)!

42 F l o r i d a

Music Director

to have an amazing experience with

Michele Fernandez-Denlinger (Miami Senior High School).

I wish that every one of you could

sit in on the clinics committee meetings

to hear the thoughtful discussions and

friendly disagreements about how we may best serve the needs of our FBA members. There is much brainstorming

of issues and topics that we believe are

affecting band rooms across the state. The committee combs through lists of sug-

gestions from districts and submissions

to the FMEA database, and also through archives of previous ideas to find ones that are both strategic and relevant. Often

new clinics are born from these discussions that become even more robust than

the original ideas. FBA is much more than

an event management organization that

is concerned solely with all-state selection and MPA administration. It is a dynamic,

forward-thinking organization that seeks

to improve the band experience for our members and their students. I am really excited about what the FBA can accomplish in the next few years.

See you all in Tampa!

FLORIDA COLLEGIATE NAFME

Shelby R. Chipman, PhD, Advisor

W

e are well into the school year, and

The Florida collegiate members are

annual business meetings, reports and

FMEA cadre of presenters during our 75th

current FCNAfME state officers, who are

I am sure everyone is preparing

poised and excited about their 2019

and festivals while developing wonderful

Anniversary Professional Development

for community performances, concerts

musicians and preparing students for life following our music classes.

The

Florida

Music

Education

Association (FMEA) provides our col-

legiate students many opportunities to grow as music teachers of tomorrow.

The purpose of the collegiate component

election of officers. Again, kudos to our

committed to excellence in preparing our

2019 conference, ARTISTRY: Teaching &

Conference, January 9-12. We have select-

Performing. We thank our current FMEA

ed outstanding individuals to provide

president, Dr. Ken Williams, for his tre-

special leadership from our music super-

mendous vision and all who provide

visors as well as other artistic leaders in

incredible leadership for our association.

the field of music education. In addition

to all of our presenters, we will have our

of the National Association for Music

«« the basic truths and principles that

FLORIDA ORCHESTRA ASSOCIATION

Education (NAfME) is to provide:

underlie the role of music in human

«« the philosophy and function of the music education profession; «« the professional interests of members involved on every level; «« the music industry’s role in support of music education; and «« the knowledge and practices of the life;

professional music educator as facilitated through chapter activity.

I would like to recommend to all of

Jason Jerald, President

H

appy fall, everyone! I hope you have begun to feel relief from the heat as

time moves us into preparation for the holidays and that all is well with

your classrooms and fall performances thus far. As we come off the heels of an outstanding Fall Conference, the planning committee welcomes your ideas for

future sessions, so please begin thinking of topics for the 2019 conference. Our president-elect, Matthew Davis, will send out a survey link for future conference suggestions. We also need people to serve as all-state coordinators for the 7-8

Middle School Honors Orchestra and the 11/12 Symphonic Orchestra, and for

FOA president-elect. If you are interested in serving in any of these capacities, please contact our executive director, Donald Langland, at exdirfoa@yahoo.com.

Congratulations to all students who prepared and auditioned for All-State, and

our collegiate students to take some time

thank you to the teachers who inspire these students daily. We are looking for-

music teachers. These music educators

Professional Development Conference in January. By now, audition results should

to visit local schools and network with and their students can provide you with

valuable experiences away from campus

and extend the training you receive from your respective classes. Make the most out of learning opportunities in every

setting in your communities. Prioritize your individual goals and objectives each

semester with well-maintained portfolios and social media sites.

Our Florida Collegiate NAfME, under

ward to outstanding performances from our all-state ensembles at the 2019 FMEA

have been published. Please remember to cancel any hotel rooms you don’t need

by November 10 at 5 pm. You will be charged for the first night of each room held after November 13. Conference preregistration closes at midnight on December 8.

Payment must be postmarked on or before December 5 if you are paying by check.

Preregistration is by credit card only December 6-9. The all-state orchestra coordi-

nators will mail music in December before the winter break. Please anticipate its arrival at your school for each of your all-state students.

I haven’t understood a bar of music in my life, but I have felt it. – Stravinsky I know by now we have started to get into the logistics of our curriculum agen-

the leadership of Ms. Jennifer Luechauer

das, but I want to encourage you to realize that our mission should be to cultivate

chapters, organized an outstanding Fall

Carrie Lane Gruselle and Peter Boonshaft, stressed the importance of realizing

(FSU), the Executive Board and our

Conference held on the campus of Florida

Southern College. We thank those who contributed to the success of these activities centered on First-Year Teaching Success.

artistry and creativity in our classroom. Our fall conference keynote speakers, the meaning of what we do in the midst of the madness. Take advantage of every opportunity to make what we do matter—because it does! Wishing you all the best as we continue to inspire our future.

November 2018

43

ComponentNews I

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Rosemary Pilonero, President

t’s just about time for one of my

Lauder, Josh Southard, Marla Butke and

will lead an evening drum session follow-

Professional Development Conference! I

“Teaching Children’s Choral Music: Bits to

on Thursday evening. Some drums will

favorite events of the year, the FMEA

LOVE going to the conference every year

to learn new ways to reach my students, to reconnect with old friends, to shop in the exhibit hall and to be surrounded by

hundreds of people who share my love and passion for teaching music. We are

very fortunate to live in Florida, where we have this world-class opportunity in

our own backyard. Those of you who

have been to other conferences know that the FMEA conference can hold its own against the best. Speaking of world-class

conferences, the lineup of FEMEA clini-

cians for the 2019 conference is stellar. A common post-conference comment/com-

plaint we receive every year is that there are too many good sessions happening at

the same time. This is a wonderful dilem-

ma to have, one that other states only wish they had!

Our headline clinicians this year are

Angela Broeker, Jay Broeker, Chris Judah-

Roger Sams. Angela Broeker will present Pieces.” Jay Broeker will present “A World

of Musical Play: International Children’s Singing and Rhythm Games” and “Sing

ing the FEMEA Annual Business Meeting be provided, but please bring your own drum if at all possible.

In addition to these outstanding clini-

a Story, Play a Poem: Developing Music

cians from far and wide, remember that

our commissioned piece for the All-State

rehearsals for the All-State Elementary

From Text Sources.” Jay has also composed

Chorus this year, Wondrous Waves, and it will be premiered at our concert. Chris

Judah-Lauder will present “Let’s Drum!” and “Create and Collaborate.” Josh

Southard will present “Orff Schulwerk: The Études of Children’s Literature” and “Orff Schulwerk: Improvisation in the

Elementary Classroom.” Marla Butke will

present “Artistic Expression in the Choral Classroom Using Dalcroze Eurhythmics” and “Blending Dalcroze Eurhythmics With

Folk

Song

Literature

in

the

Elementary General Music Classroom.”

Roger Sams will present “Working

your registration badge gets you into the Chorus and the All-State Elementary Orff Ensemble. It’s always an invaluable experience to watch master teachers work-

ing with actual children. I encourage

you to sit in on a rehearsal and pick up some ideas from Dr. Kelly Miller, Cyndee

Gibler and Michelle Przbylowski. Plan

now to drop in on the Curriculum Fair

to peruse best practices, to attend the FEMEA Annual Business Meeting/Drum

Session on Thursday and to attend our two fabulous elementary all-state concerts.

With Functional Harmony in the Orff Schulwerk Classroom.” Nate Strawbridge

Don’t forget to vote for our next FEMEA

president-elect. We have two wonderful nominees, Ashley Peek and Joani Slawson.

Voting for this and district chairpersons

(1, 3, 5, 7) will be done electronically, so be on the lookout for that information.

Finally, please be sure to thank our

FEMEA executive board members. These extremely dedicated servant-leaders work tirelessly to provide you—our members—with

outstanding

professional

development, scholarships, grants and many other behind-the-scenes benefits.

44 F l o r i d a

See you at the conference!

Music Director

CommitteeReports AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

A

s I am each year, once again I am overwhelmed by the nominations that came in for the 2019 FMEA Awards.

It is so encouraging to read about all of the wonderful things

that are happening to make music education great in Florida.

When we release the list of awardees, you, too, will be impressed by how much of our state is represented.

I wanted to take an opportunity to say THANK YOU to

my very dedicated awards selection committee members,

who had the daunting job of selecting the winners. Selecting

just one was indeed a difficult job, but the committee did due diligence in reviewing every letter of support and list of

ed on the FMEA website

helpful as a guide. It was

truly inspiring to receive so

many nominations from across

the state, from small as well as large

counties and from north, south, east and

west Florida. Thanks for your participation in the process this year, and if your nominee wasn’t selected, please consider resubmitting next year. We certainly have many worthy individuals we would love to celebrate.

I now look forward to receiving those Music Enrollment

achievements presented with each nomination.

and Music Education Service Award applications.

did a wonderful job of putting together the nomination

about the 2019 awardees. I know you will be just as inspired

I also would like to applaud this year’s nominators. You

applications. I hope you found the sample applications post-

Stay tuned for my next article when you will get to read all

by them as I am. Until then, enjoy this fall season!

November 2018

45

CommitteeReports S

essions at the 2019 FMEA Professional

ASD may include individuals with very

number of sessions devoted to teaching

lenges and skills. With ASD, the range

Development Conference will cover a

students with disabilities. Music educators often report that autism spectrum disorders (ASD) and behavior disorders

(Adamek & Darrow, 2018) present the

most challenges in the music classroom.

As a preview to the 2019 sessions that

address these two disabilities, I offer the

different abilities, personalities, chalof abilities and degree of developmental delay manifest as individual differences

unique to each child; however, all children with ASD have some sort of difficulty with social communication skills

and behaviors (Adamek & Darrow, 2018).

following information and suggestions.

Students With ASD in the Music

Students With Autism Spectrum

In general, students with ASD need a

Disorder (ASD)

Students who are diagnosed with ASD have qualitative impairments in social

communication skills. These students may have difficulty with expressive and

receptive language or interacting with others, and they may have difficulty

understanding that others’ thoughts, feelings and perspectives might be different from their own Approximately

one-third of individuals with ASD are nonverbal while others may be highly

verbal but have difficulty with interpretation or meaning in language. In addi-

Classroom

structured classroom that is predictable and consistent to help them learn.

Information should be presented visually as well as verbally to support students’

processing and understanding. Typically developing peers can provide models of

als with ASD also have intellectual dis-

abilities; however, some individuals with ASD have typical or high intellectual functioning (Hammal & Hourigan, 2013).

Because ASD is a spectrum disorder,

various skills and characteristics exist

from student to student. Students with ASD may require educational interven-

tions adapted to their specific needs and abilities. The characteristics of ASD may

be present in a wide combination of behaviors and levels of severity, so any group of students all diagnosed with

46 F l o r i d a

«« Output—adapt how the students can monitor with headphones.

respond to instruction, perhaps by

«« Alternate

using technology.

goals—while using the

same materials for all students, adapt

«« Managing the physical space—adapt the outcome expectations or goals.

the classroom arrangement to best suit the needs of the students, such

as removing materials that might be

«« Level of support—increase amount of distracting.

support from others, such as paraprofessionals or other students.

students with behavior disorders is the

riences. These general strategies, com-

bined with strategies developed based on individual student needs, will promote success in the music classroom.

Music educators should always con-

such as using visuals, providing multi-

behaviors. About one-third of individu-

as viewing instruction on a computer

ASD when engaged in structured expe-

ate social interaction for students with

activities when compared to typically unusual repetitive and self-stimulating

tion is delivered to the students, such

Students With Behavior Disorders

sider using the principles of Universal

developing peers, and they may exhibit

«« Input—adapt the way that instruc-

appropriate behavior and age-appropri-

tion to social communication problems, they have a limited range of interests and

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD Chairwoman

Design for Learning (UDL). Strategies

ple means of instructional delivery and proximity may support the needs of

students with ASD without additional adaptations; however, some students will

need additional adaptations due to the level of support needed. Many of these strategies are appropriate for use with

students who have ASD to support their

learning and to increase positive behav-

ior in music class. These adaptations can be used in an inclusive music class, a self-contained music class or a music

«« Participation—vary the level of partherapy setting:

Music Director

ticipation that is expected of the student.

Most teachers report that managing greatest barrier to effective classroom instruction. Students with behavior dis-

orders are generally unhappy, and they

are often successful at making everyone around them unhappy as well. They are generally disliked by their peers, their

teachers, their siblings and often even

their parents. In addition to their challenging behaviors, these students are fre-

quently diagnosed with accompanying

disorders—such as learning disabilities, attention deficit and hyperactivity disor-

ders, depression and suicidal tendencies.

Even though music is a highly desirable activity for most students, music educa-

tors have indicated that students with behavior disorders are the most difficult

to mainstream in the music classroom.

Unfortunately, students with behavior

disorders are often seen simply as troubled students vying for attention, and

not as students with a disability who are deserving of the same education-

al provisions as students with physical,

cognitive or sensory disabilities (Adamek & Darrow, 2018).

There is no doubt that students with

behavior disorders present significant

challenges to their teachers and peers.

They typically exhibit unacceptable pat-

terns of behavior, are nonconforming to

the norms of the classroom and often make the learning environment unproductive for other students. To make the

problem worse, teachers often have misguided expectations of students with

behavior disorders. Students who are blind are not expected to see when they

enter the classroom, and students who are deaf are not expected to hear when

they enter the classroom. However, teach-

ers often expect students with a behavior

his or her classmates but needs additional

“behave” when they enter the classroom.

allows a student to engage in the same

disorder to suppress their disability and

These students, like most students with disabilities, require instructional inter-

ventions to manage their disability and to assist them in becoming educated and sociable adults.

Students With Behavior Disorders in the Music Classroom

Students generally engage in disruptive behaviors when they are not actively engaged or when the environment

prompts these behaviors. Students with problem behaviors generally perform better when they are (a) in close proximity

to the teacher, (b) sitting beside model students and (c) actively engaged in a desirable activity. Moving a student to the front of the room or wisely placing him or

her next to appropriate peers is not difficult; however, planning learning activities

that are motivating is difficult unless the teacher is knowledgeable about a wide range of curricular options.

Instructional accommodations are used

when the teacher believes the student can

achieve the same level of participation as

desired activities, such as listening to

«« Think “do” when you think “don’t.”

support. An instructional accommodation

CDs or playing music Bingo).

musical activity as other students in the

Asking students to do something is

class, but some change is made in setting,

a more positive approach than tell-

presentation of the information or the

ing them don’t do something—“Watch

type of accepted response. Some sugges-

me” instead of “Don’t bury your head

«« Think “approval” when you think

tions for instructional accommodations

in the music.”

are the following (Adamek & Darrow,

«« Give clear, uncomplicated directions.

2018; Madsen & Madsen, 2016):

“disapproval.” Reinforcing students who are doing what you want them

to do creates a more positive learning

Students often misbehave when they

environment than admonishing stu-

are confused about what they are sup-

«« Use the student’s name and look at

dents who aren’t doing what you want

posed to do.

«« Set the occasion for problem students them to do.

him or her. Students are more likely to misbehave when they think they are

«« Define

to be reinforced. It is difficult to “catch

anonymous.

the student being good” if they aren’t

being good. Ask them to help move

expectations for classroom

risers, put instruments away—any

behavior and be consistent in admin-

activity that will allow you to rein-

istering consequences for misbehav-

force good behavior and allow them to

ior. Students often misbehave because

feel good about themselves.

they do not know what behavior is

«« Make a desirable activity (e.g., play-

Teaching Discipline (Madsen & Madsen,

expected.

2016) includes helpful information related

to the suggestions listed above, as well as

ing drums) contingent upon a less

other suggestions for managing students’

desirable activity (e.g., completing

behavior:

sight-singing exercises). Many teachers use reinforcement menus (lists of

Continued on page 48

November 2018

47

CommitteeReports Diverse Learners Committee continued from page 47

«« Avoid

that either reinforce or extinguish the

labeling students, such as

behavior.

“troublemakers” or “bad students.”

«« Reserve emotions—choose your bat-

behaviors have to be shaped—shaped

ty. Decide which problem behaviors

iors takes time. Students rarely instantly

and prioritize which behaviors will

to a model student. In the initial stages

Students often live up to their labels.

tles. Students with behavior disorders are difficult; it is their disabili-

interfere the most with learning

«« Use peers as solutions. Solicit classreceive your time and attention.

mates to engage in peer tutoring or as a part of the management strate-

gy. Students with behavior problems often respond more readily to the

approval and disapproval of their

«« Analyze

peers than of their teachers.

problem situations as to

antecedents

and

consequences.

Problem behaviors rarely occur in isolation. There are events that trig-

ger the behavior and consequences

48 F l o r i d a

Like all new behaviors, appropriate

through successive approximations to the desired behavior. Shaping desired behav-

transform from being a problem student

of shaping a problem student’s behavior, accept and reinforce behaviors that come

close to the appropriate behavior. Finally, we often have to adapt our attitudes

about teaching students with behavior disorders. Most teachers have negative

attitudes about teaching problem students. Madsen and Madsen (2016) discuss

the strategy of “act yourself into a new way of thinking.” Developing a positive

attitude about students with behavior

disorders can do much to reduce the stress of teaching these students. There

Music Director

are many other constructive outcomes

that result from teaching students who

«« They require us to practice patience. «« They motivate us to plan more effectively. «« They keep us on task in the classroom. «« They prompt us to be more organized. have behavior disorders or ASD:

If students with behavior problems or

ASD can affect us in these ways, how can teaching them be negative?

References Adamek, M. A., & Darrow, A. A. (2018). Music in special education. Silver Spring, MD: American Music Therapy Association.

Hammel, A. M., & Hourigan, R. M. (2013).

Teaching music to students with autism. New York, NY: Oxford University Press.

Madsen, C. H., & Madsen, C. K. (2016). Teaching discipline: A positive approach for educational development (5th ed.). Raleigh, NC: Contemporary.

PROFESSIONAL DEVELOPMENT COMMITTEE

Carolyn Minear, Chairwoman

I

n November, Americans have the

musical choices on their own road to

on the various stages, chapters, twists

many blessings of this life. We celebrate

Dear Florida music educators … What

to share this journey with you, knowing

opportunity to give thanks for the

with families, friends and food (and per-

an inspiration you are! You model love,

am also particularly thankful to belong

cianship. You offer life-changing expe-

haps a little football!). This November, I to a music education community of

extraordinary colleagues, both past and present, a learning community that

continually shapes and reshapes this noble profession. Late-night television

host Jimmy Fallon has an ongoing segment of writing thank-you notes. If you

will indulge me, these are a few of my thank-you notes to amazing people who forever guide my lifelong professional

and turns in my career, I am so grateful

musical independence. Thank you, Isabel.

I am never alone. Thanks to each of you.

Now it is your turn: Make a professional

teaching artistry and extraordinary musi-

development gratitude list and write your own thank-you notes.

riences to your students and communi-

You are also invited to share a new

ties. You choose to use personal time to

chapter in our mutual growth experi-

improve your skills and feed your musical souls. You share your successes and

ences. Register now to participate in the

so we can grow together, learning from

Conference, January 9-12, as we explore

2019 FMEA Professional Development

“maybe next times” with your colleagues

ARTISTRY: Teaching & Performing. Happy

each other. You serve as leaders in your

Thanksgiving, and see you soon in

profession, giving your time and talents

Tampa!

beyond your own classroom. As I reflect

development journey.

Dear Alice … You allowed me to make

mistakes as a young teacher. When one

MULTICULTURAL NETWORK Bernard Hendricks, Chairman

student never looked at his music, simply copying the student’s hands on the adjacent keyboard, she listened to my rant

and reminded me of an important life lesson: Every student learns differently.

The next year, that student was my best music reader. Thank you, Alice.

Dear Terry … I took your position

when you retired, the same year you con-

ducted an all-state ensemble. You could

have rightly complained about everything I did wrong, but instead encour-

aged me to walk in my own shoes. You also cared enough to let me know that I

chose performance literature that I loved rather than what was best for my students. When you judged at MPA, you

wrote, “Maybe someday, but not today!”

Lesson learned. Thank you, Terry.

Dear Isabel … For three summers in

a row, you took me completely out of my

comfort zone as a teacher, changing my

pedagogical and musical life forever. You

gave me permission to be creative and stretched my traditional musical bound-

aries. Because of your model, I learned to let go and encourage my students to make

N

ovember is here, can you believe it? Fall has arrived, the temperature is

dropping, the leaves are changing color … wait a minute, this is Florida

and none of that is actually happening! Our lovely, colorful and vibrant students

are still showing up eager to learn and to be challenged by their awesome music teachers, however. This is the time of year when things can easily get monotonous

and stale, so I encourage you to keep it fresh and interesting. Change up some norms a bit to keep students on their toes and engaged in the learning process. As you plan for your winter performances, don’t forget to explore music of various cultures, especially those represented in your classrooms. This always allows for

student ownership in our programs as well as diversity in music literature and cultural experiences.

Also, with mid-term elections just a few days away, don’t be afraid to encour-

age and educate your community on the importance of what and who is on the ballot this November.

Lastly, this is a very important time for our soon-to-be graduating seniors. As

music educators, we typically teach the same kids for four years, enabling us to

develop trusting relationships. As they are preparing to enter college and life outside of high school, take the time to speak positive words about the future into their lives. Ask them about their plans and goals. Inquire about where they want

to go to college, and encourage them to find ways to continue their growth and passion for music. Provide them with information about opportunities to become

lifelong learners and lovers of music. You never know, you could be teaching the future you!

Have a great fall. I hope to see everyone in Tampa come January.

November 2018

49

ResearchPuzzles for music teachers

What trends can we see in visual and performing arts public attendance?

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

This on-going

column seeks

to stimulate

awareness of

research issues for

FMEA teachers

and researchers.

S

ince 1982, the National Endowment for the Arts (NEA) has periodically sponsored national surveys with the title Survey of Public Participation in the Arts (SPPA: 1982, 1985, 1992, 2002, 2008, 2012,

2017) to monitor attendance at live classical music (orchestra, choir, opera), jazz, theater and dance

performances as well as visual art exhibitions (museums/galleries and parks, monuments, buildings or neighborhoods for historic or design value). I have reported selected results from these reports in

the past. This month’s column highlights preliminary findings from the 2017 survey1 of 27,969 adults

aged 18 and over in the areas of performing arts, visual arts and literary reading. The information in this most recent first-look report came from 8,844 respondents who received the Core 1 set of ques-

tions about arts attendance and literary reading. I focus on performing arts attendance this month.

Based on those responses, the NEA reports that 106.8 million people (43.4% of U.S. adults) attended at least one performing arts activity. Table 1 shows percentage trends for the traditional art forms that the NEA has tracked for decades.

Table 1. Percent of adults attending performing arts events, by art form

Performing Arts Event

2002

2008

2012

2017

Percentage point (pp) change

Outdoor performing arts festivals

N/A

20.80%

20.80%

24.20%

+3.4 pp

+16.4%

Musical plays

17.1%

16.7%

15.2%

16.5%

+1.3 pp

+8.6%

Other* performing arts events

N/A

N/A

11.6%

15.0%

+3.4 pp

+29.1%

Non-musical plays

12.3%

9.4%

8.3%

9.4%

+1.1 pp

+13.3%

Classical music

11.6%

9.3%

8.8%

8.6%

-0.2 pp

-2.3%

Jazz music

10.8%

7.8%

8.1%

8.6%

+0.5 pp

+6.2%

Dance performances other than ballet

6.3%

5.2%

5.6%

6.3%

+0.7 pp

+12.5%

Latin, Spanish or salsa music

N/A

4.9%

5.1%

5.9%

+0.8 pp

+15.7%

Ballet performances

3.9%

2.9%

2.7%

3.1%

+0.4 pp

+14.8%

Opera

3.2%

2.1%

2.1%

2.2%

+0.1 pp

+4.8%

Rate of change

*Note: The category Other refers to types of performing arts not listed in the SPPA questions.

The report notes that the 2012-17 growth in attending outdoor performing arts festivals was most evident for African-Americans and 25- to 44-year-olds. The short story is that performing arts attendance for these art forms has remained stable for the past 15 years. The deviations are within the statistical margin for error.

This stability is also seen in visual arts attendance (see Table 2).

50 F l o r i d a

Music Director

  Table 2. Percent of adults attending visual arts events, by art form

Visual Arts Event

2002

2008

2012

2017

Percentage point (pp) change

Other performing arts events

N/A

N/AÂ

11.6%

15.0%

+3.4 pp

+29.1%

Museums/galleries

26.5%

22.7%

21.0%

23.7%

+2.7 pp

+12.9%

Parks, monuments, buildings or neighborhoods for historic or design value

31.6%

24.9%

23.9%

28.3%

+4.4 pp

+18.4%

Rate of change

The survey also provides the following conclusions for reading: The share of adults who read any book not required for work or school is comparable to the 2002 and 2008 levels. Novel and short-story reading, in terms of the percent of adults who did this activity, have fallen

below historical levels. Poetry- and play-reading, meanwhile, have increased in the U.S. adult population from 2012 to 2017. (p. 12)

More reports will follow from this survey, and I expect to refer to them in future months.

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

Your questions, if selected for publication, will remain anonymous.

Endnote: 1 U.S. Trends in Arts Attendance and Literary Reading: 2002-2017. https://www.arts.gov/news/2018/new-report-arts-attendance-shows-gains

2019 FMEA Professional Development Conference & All-State Concerts

THERE IS STILL TIME TO BECOME AN EXHIBITOR Media Kit, Exhibitor Information and Pricing available at FMEAMediaKit.org.

November 2018

51

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

FMEA Professional Development Conference and All-State Concerts

The Mission

of the Florida Music

Education

Association is to promote quality, comprehensive

music education for all Florida students as a part of their complete

education.

The 2019 conference, ARTISTRY: Teaching and Performing, will offer more than 150 sessions and 22 performing ensembles, January 9-12. Students from

throughout the state of Florida have been selected through an auditioned process to perform in those ensembles.

Registration for the conference is open until December 7, 2018, and then

on-site registration will begin on Wednesday morning of the conference.

Hotels began taking reservations at 9 am on Saturday, September 22.

U.S. DOE Approves Florida’s ESSA Plan Every Student Succeeds Act (ESSA)

Recently I attended a meeting focused on the arts and ESSA in Kansas City, Missouri. Many of the

sessions were focused on Title IV, Part A and funds available in three areas for school districts to

access for Title I schools. The frustrating part for Florida is that in the Florida ESSA plan, there is no mention of music and the arts. FMEA was diligent in writing language to be placed in the plan, to no avail. Florida’s plan was just approved by the United States Department of Education. Florida was the

last state to have its plan approved. The monies, if over $30,000 per school district, would include the

«« Well-rounded education: a minimum of 20% of funds «« Safe Schools: a minimum of 20% of funds «« Technology: a maximum of 15% of funds following:

We need our teachers to request access to those funds in their schools, knowing it is a heavy lift but

necessary for creating a well-rounded student. According to the federal government, the funds can be used for music and the arts; now we have to convince our Florida Department of Education and legislators. Please see the Advocacy Report by Jeanne Reynolds for additional information.

On another note, in the last legislative session’s appropriations, Florida went from 10th to 48th in

support of the arts in our state. This in large part was due to the lack of funding for the Department of State Division of Cultural Affairs grants. We need to advocate for the DCA grants to be fully funded this legislative season.

52 F l o r i d a

Music Director

Historically, room blocks fill up fast but then open back up

after all-state audition results are posted in October and November, so please don’t worry if you are unable to secure a room at this time. Please do not reserve rooms at non-

FMEA hotels, as this could affect our discounted rates for the meeting rooms we use for all-state rehearsals, resulting in higher conference registration costs in the future. The

FMEA Board of Directors will continue to review the hotel

policies for future conferences. FMEA has contracts with

eight downtown hotels and four in the Westshore area. We will continue to post weekly online the conference hotel vacancies.

The Student Leadership Workshop will be held on

Wednesday, January 9, at the Tampa Convention Center.

The workshop is designed to help positively impact student

organizations’ ability to plan, practice, process and per-

form. Dr. Tim Lautzenheiser will be the clinician for this outstanding event to prepare our future leaders.

The Student Conference Experience will be held on

Thursday, January 10, at the Tampa Convention Center and

the Holiday Inn Westshore. The purpose of this program is to expand access to the annual conference to students throughout the state. Participating students will interact

with amazing clinicians and educators, college representatives and incredible performing groups.

The Florida Music Education Association Digital

Showcase is designed to encourage musical creativity, crit-

ical thinking and collaboration by students in K-12 schools.

Students are welcomed to submit their original compositions for the opportunity to have them presented at the

FMEA Professional Development Conference in January.

The deadline is November 9.

The All-National Honor Ensembles sponsored by the

National Association for Music Education include Concert Band, Symphony Orchestra, Mixed Choir, Jazz Ensemble

and Guitar Ensemble. Florida has 45 students participat-

ing. The public concerts will be held at Disney’s Coronado Springs Resort in Orlando, November 27-28, 2018.

Please encourage your students to participate in these

special opportunities for Florida students. To view additional information, please see the FMEA website. Mark your calendars for these upcoming events.

See you in Tampa!

Kathleen D. Sanz, PhD

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November 2018

53

F L O R I D A M U S I C E D U C AT I O N A S S O C I AT I O N OFFICERS AND DIRECTORS EXECUTIVE BOARD President..............................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Past President........................John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810 johnsouthall@fmea.org President-Elect....................... Steven N. Kelly, PhD College of Music, FSU 128 Housewright Bldg.; Tallahassee, FL 32306-1180 (850) 644-4069; Fax: (850) 644-2033 skelly@admin.fsu.edu FBA President.................................. Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org FCMEA President..................... Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Florida Collegiate NAfME President.......................Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Florida Collegiate NAfME Advisor................. Shelby R. Chipman, PhD FEMEA President.......................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org FMSA President......................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net FOA President........................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us FVA President.................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Member-at-Large....................................Ted Shistle Douglas Anderson School of the Arts 2445 San Diego Rd.; Jacksonville, FL 32207 (904) 346-5620; shistlet@duvalschools.org EX-OFFICIO MEMBERS Historian/Parliamentarian 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 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

54 F l o r i d a

FMD Editor-in-Chief......... Mark A. Belfast, Jr., PhD Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FSMA President...........................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu FMEA COMMITTEE CHAIRPERSONS Awards............................................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Budget/Finance, Development........................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Committee Council.......................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Conference Chairman...........John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@fmea.org Contemporary Media...............David Williams, PhD University of South Florida 4202 E. Fowler Ave., MUS 101; Tampa, FL 33620 (813) 974-9166; davidw@usf.edu Diverse Learners.................Alice-Ann Darrow, PhD Florida State University Music Education and Music Therapy 123 N. Copeland; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu Emerging Leaders....................... Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners...Fred Schiff All County Music 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations.............Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org Multicultural Network..............Bernard Hendricks Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net Professional Development............. Carolyn Minear carolynminear@fmea.org Research.................................Don D. Coffman, PhD University of Miami d.coffman1@miami.edu Retired Members................................Cynthia Berry 1341 Dunhill Dr.; Longwood, FL 32750 (407) 310-1254; cberry1314@gmail.com Secondary General Music........................Ed Prasse Leon High School 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net

Music Director

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

Executive Director........................ Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

PROFESSIONAL DEVELOPMENT CONFERENCE

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

Exhibits Managers........... Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606 fmeaexhibits@fmea.org Local Co-Chairman.................................... 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 Local Co-Chairwoman.................Melanie Faulkner Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4461; melanie.faulkner@sdhc.k12.fl.us FLORIDA BANDMASTERS ASSOCIATION President.......................................... Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org Past-President...................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.org Executive Director................................ Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909 exec@fba.flmusiced.org FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President.................................. Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Past President........................Patricia Fleitas, PhD pfleitas@fau.edu President-Elect...........................................John Ash ashj@cf.edu FLORIDA COLLEGIATE NAfME President................................... Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Past-President............................Michael A. Gabriel Florida State University (561) 762-0016 mgmagabriel@gmail.com FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President....................................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org Past President.................................... Marie Radloff marie.radloff@ocps.net

FLORIDA MUSIC SUPERVISION ASSOCIATION

Past President............................Angela Hartvigsen ja.hartvig@comcast.net Treasurer.................................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us FLORIDA ORCHESTRA ASSOCIATION President................................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us Past President......................................Valerie Terry vterrymusic@gmail.com Executive Director........................Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832 exdirfoa@yahoo.com FLORIDA VOCAL ASSOCIATION President.........................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Past President.............................Carlton Kilpatrick ckilpat444@gmail.com Executive Director.............................. J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; fva.scott@gmail.com Financial Officer..........................................Jo Hagan 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260 business@fva.net CENTER FOR FINE ARTS EDUCATION STAFF 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director...............Kathleen D. Sanz, PhD kdsanz@fmea.org Director of Operations............................Valeria Anderson, IOM val@fmea.org Business Manager & Special Projects...................... Richard Brown, CAE richard@fmea.org Technology Director.........................Josh Bula, PhD josh@fmea.org Public Affairs & Communications Coordinator......Jenny Abdelnour jenny@fmea.org Marketing & Membership Coordinator.....Jasmine Van Weelden jasmine@fmea.org