CEL
AT EBR
ING
PRELUDE to the 2020 CONFERENCE
NAfME All-National Honor Ensembles FBA Roll of Distinction and Hall of Fame Concerts
Success Through Solfège November 2019
1
YOUR MUSIC IS OUR MUSIC
MUSIC fau.edu/music 561-297-3820
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Executive Director Florida Music Education Association Kathleen D. Sanz, PhD
Hinckley Center for Fine Arts Education
402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (kdsanz@fmea.org)
Editor-in-Chief
D. Gregory Springer, PhD Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) (dgspringer@fsu.edu)
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)
Advertising Sales Valeria Anderson (val@fmea.org)
Director of Finance and Client Relations
Richard Brown , MBA, CAE, CMP (richard@fmea.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844
Official FMEA and FMD Photographers
Bob O’Lary
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Art Director & Production Manager
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Contents November 2019
Volume 73
•
Number 4
NAfME All-National Honor Ensembles. . . . . 12-13 Success Through Solfège . . . . . . . . . . . . . . . . 14 FBA Roll of Distinction and Hall of Fame Concerts . . . . . . . . . . . . . . . . 18-19 Prelude to the 2020 Professional Development Conference How do I get to the conference? / 20
Student Leadership Workshop / 25
Registration Information and Fees / 21
All-State Rehearsals / 26
Policies / 22-23 Contracted Hotels / 24
New Security Procedures / 28 Important Dates / 29
D E PA R T M E N T S
Circulation & Copy Manager
Share Your Success. . . . . . . . . . 4
Research Puzzles. . . . . . . . . . . . 32
Copy Editor
President’s Message. . . . . . . . . . 5
Component News.. . . . . . . . . . . 33
Advocacy. . . . . . . . . . . . . . . . 6
Committee Reports. . . . . . . . . . 40
Academic Partners. . . . . . . . . . . 8
Executive Director’s Notes. . . . . . 45
Corporate Partners. . . . . . . . . 10-11
Advertiser Index. . . . . . . . . . . . 46
2019-20 FMEA Donors. . . . . . 30-31
Officers and Directors.. . . . . . . . 47
Valeria Anderson, (800) 301-3632 Susan Trainor
November 2019
3
ShareYourSuccess
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President’sMessage
Success With a Sense of Purpose
Steven N. Kelly, PhD
A
t the recent FMEA Board of Directors’ meeting, I asked the members to consider how they will define our success. I also asked how they might ignite a sense of purpose among the FMEA
membership. The conversations that followed were inspiring, and help set the future direction of
President Florida Music Education Association
FMEA. We revised the organization’s Strategic Plan, discussed ways to address the Florida music
teacher shortage, talked about why individuals should want to teach in Florida, made plans to contact state legislators, considered possible future concerns, and discussed ways to get high school stu-
dents interested in teaching music, as well as how our future is so bright because of the commitment from our current collegiate preservice teachers. We discussed inclusive classrooms, current trends in music offerings, and issues dealing with social justice in the music classroom. We even discussed
how FMEA could alter how members get hotel rooms for the annual conference! Yes, we really had this discussion!
Throughout these conversations, I was overwhelmed by the knowledge, passion, and profession-
alism of our board members. They told stories of how teachers across our state are doing so much
and how their students are performing at incredible levels, often despite many challenges. It was inspiring! The capacity of the FMEA membership and the bar for success are limitless.
I suggest that success is defined by the accomplishments of our students. As professional music
educators, we might ignite a sense of purpose by creating opportunities for our students to be
successful. Opportunities come in all sizes and are unique to each student. Helping students reach their individual capacities to their fullest is perhaps the greatest goal for all educators. The FMEA board is there to help you create successful opportunities for your students. I reminded the board
that everyone has the capacity for good, that no one is perfect, that evil and meanness cannot be tolerated, and that laughter is good for your health. In your work with students, perhaps these ideas will help you create success and purpose.
So, as we prepare to enter another busy phase of the school year, how will you define success and
ignite a sense of purpose? How can the FMEA Board of Directors and staff help you achieve your goals? I tell my teachers-to-be that teaching is a profession in which no single individual has all the
answers. It does indeed take a village. I challenge each of us always to put our students first, and to work together to create success with a sense of purpose.
I hope you are making plans to join me at the FMEA conference in January at the Tampa
Convention Center. This event promises to be the largest in our history. There will be something
for everyone, from teaching techniques to issues in teacher wellness to performances by some of the finest ensembles in our state at every level. There will be more about our conference in the next issue of the FMD.
Thank you for all you do and for supporting the Florida Music Education Association. Please
know that if I can ever be of assistance, I hope you will contact me.
Steven N. Kelly, PhD President
Florida Music Education Association
November 2019
5
AdvocacyReport
Jeanne W. Reynolds
Florida Seal of Fine Arts Legislation
G
etting legislation passed is a much heavier lift than killing detrimental legislation. How an idea becomes a bill, and
then how that bill becomes a law, is quite a lengthy and complex
process. Typically, it takes years to get a bill written, sponsored,
championed, and passed. FMEA is starting on this multiyear process. We know music education is good for students, and we
Chairwoman Government Relations Committee
1. The Florida Seal of Fine Arts for high school graduates will be established to recognize each high school graduate who has attained a high level of fine arts course work.
2. The purpose of the Florida Seal of Fine Arts is to encourage students to develop high level skills in performing and/or visual arts.
have the cohort data to suggest that the longer students engage
3. The Seal of Fine Arts shall be awarded to a high school stu-
A colleague recently told me that one of the principals in
meets the requirements established by the State Board of
in the arts the better.
her district called her last year and shared his frustration that although he had a great arts program at the school, he got nothing for it—meaning it didn’t count toward the school grade. The
value of arts education is well-known and well documented. Despite this, it can still be a challenge to advocate for strong
music programs in this age of accountability. Principals under-
standably are looking for points to boost their school grade. Now, even principals are feeling the frustration of a lack of rec-
ognition for music programs when they can see clearly that our programs are good for their students. It’s time for us to address this issue legislatively.
The Government Relations Committee has drafted some
dent who earns a standard high school diploma and who Education. In establishing the criteria for awarding the Seal
of Fine Arts, the state board shall include all of the following: a. Completion of three (3) year-long or the equivalent of 3 credits of sequential courses in dance, music, theatre, and/or visual arts with a “B” or higher. b. Completion of an additional full credit is required in the same or a different art form and two fine arts related co-curricular activities. c. Students must share their talent and industry knowledge by providing at least 20 hours of arts related community service and presenting a capstone presentation on their experiences.
There is also draft language in this bill to address school
language creating a Florida Seal of Fine Arts for high school
grade. Legislation is always a work in progress, and we are at
program of study in the arts and complete additional require-
to stay informed and to be ready to help when asked. Getting
graduates. Students who successfully complete a sequential ments will earn a Fine Arts Graduation Seal on their diploma. It is also possible that schools who have a number of these fine
arts graduates on their campus could earn additional points for their school grade.
Specifically, here are the criteria that have been drafted to
date. It should always be noted that the bill language will continue to change as it moves through the process.
6 F l o r i d a
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the very beginning of this process. We ask all of our members
legislation passed is much more of a marathon than a sprint. We will consider our efforts successful if we are able to get our bill
sponsored and filed this year. It is critically important to get this conversation started.
We know music education is good for students. It’s time we
introduced some legislative language to reward students and schools for doing the right thing.
Florida State University
COLLEGE OF MUSIC
122 N. Copeland Street | Tallahassee, FL | 850-644-4774 | music.fsu.edu
Make Great Music
Pursue Your Passion
Chart Your Future
2020 AUDITION DATES
APPLICATION DEADLINES
January 24-26
Freshman Priority Deadline: November 1 Freshman & Transfer Students: February 1 Graduate Student Priority Deadline: December 1
February 7-9 February 21-23
Additional dates available by appointment. Graduate Piano Accompanying and Opera Coaching Auditions: January 17 & February 14.
FINAL DEADLINES MAY VARY BY PROGRAM SEE APPLICATION INSTRUCTIONS ONLINE November 2019
7
Please take time to thank and support our 2019-2020 Academic Partners.
GOLD PARTNERS
SILVER PARTNERS
University of North Florida
BRONZE PARTNERS Cannon Music Camp - Appalachian State University Florida College Florida Gulf Coast University Holy Cross Lutheran Academy Infinity Percussion Kent State University School of Music Mercer University
Palm Beach Atlantic University Rollins College Department of Music Union University University of North Texas Valdosta State University West Virginia University School of Music
Partners as of October 3, 2019.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
8 F l o r i d a
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November 2019
9
GOLD
SILVER PARTNERS Music is Elementary Music Man, Inc. The Horn Section, Inc. Partners as of October 3, 2019.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
10 F l o r i d a
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Please take time to thank and support our 2019-2020 Corporate Partners.
PARTNERS
BRONZE PARTNERS Cadence Music Carl Fischer Music Excelcia Music Publishing Head’s House of Music J.W. Pepper & Son, Inc. MakeMusic, Inc. Music & Arts
National Concerts Noteflight Romeo Music Tampa Bay Institute for Music Therapy Tampa Music School West Music Company
November 2019
11
All-National Honor Ensembles November 7-10, 2019 Gaylord Palms Resort & Convention Center Orlando, Florida
The NAfME All-National Honor Ensembles (ANHE) represent the top-performing high school musicians in the United States. So much more than a musical showcase, the ANHE program is a comprehensive and educational experience. The 2019 ensembles will meet at the Gaylord Palms Resort & Convention Center in Orlando, Florida, under the leadership of top conductors in the field of music education. Saturday, November 9, 2019: 7 pm-10pm: Modern Band, Guitar Ensemble, Mixed Choir, and Jazz Ensemble Sunday, November 10, 2019: 9:30 am-10:45 am: Symphony Orchestra and Concert Band
CONCERT BAND Student
Instrument
School
School City
Teacher
Lila Barrett
Piccolo
Robinson High School
Tampa
Christopher Revett
Mateo Buitrago
Trombone 1
Sickles High School
Tampa
Keith Griffis
Ethan Burke*
Clarinet 1
Dr. Phillips High School
Orlando
Charles Watford
Kian Fotouhi
Percussion
Blake High School
Tampa
Daniel DuBay
Anastasia Imeson
Percussion
Douglas Anderson School of the Arts
Jacksonville
Ted Shistle
Carla Irizarry-Delgado*
Bassoon 1
American Heritage School
Plantation
Kimberly Imerbsin
Robert Kerr
Trumpet 3
Lake Nona High School
Orlando
Michael Weintraub
Julia Lanni
Clarinet 3
Gainesville High School
Gainesville
Bill Pirzer
SYMPHONY ORCHESTRA Student
Instrument
School
School City
Teacher
Victoria Bramble
Violin 1
Alexander W. Dreyfoos School of the Arts
West Palm Beach
Wendell Simmons
Alex Heidt
Violin 2
Howard W. Blake High School of the Arts
Tampa
Jason Jerald
Anna Held*
French Horn 2 Sickles High School
Tampa
Keith Griffis
Randy McLaughlin*
Trombone 3
Winter Springs High School
Winter Springs
Kyle Ferland
Lili Pope
Cello
Trinity Preparatory School
Winter Park
Maureen May
Cal Richards*
Trumpet 1
Plant High School
Tampa
Brian Dell
Anjana Vishnubhotla
Viola
Timber Creek High School
Orlando
Staci Conkling
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MIXED CHOIR Student
Part
School
School City
Teacher
Zoe Beaton
Alto 1
Martin County High School
Stuart
Kylie Lowe
Aaron Bradford*
Tenor 1
C. Leon King High School
Tampa
Richard Estes
Benjamin Butenschoen*
Bass 2
Timber Creek High School
Orlando
Paul Wesley
Karrah Christensen
Soprano 2
South Sumter High School
Bushnell
Pete Perrone
Riju Datta
Bass 1
Berkeley Preparatory School
Tampa
Morgan Burburan
Lleyton Elliott
Bass 1
Olympia High School
Orlando
Janet Le
Daniel Galvez
Bass 2
Trinity Preparatory School
Winter Park
Christina Carter
Francisco Gomez*
Tenor 1
St. Thomas Aquinas High School
Fort Lauderdale
Wanda Drozdovitch
Leigh Ives
Soprano 2
Howard W. Blake School of the Arts
Tampa
Joseph Galeczka
Breanna Johnson*
Soprano 1
North Fort Myers High School
North Fort Myers
Christina
Gabriela Mercado
Soprano 1
Olympia High School
Orlando
Janet Le
Amari Osouna*
Alto 2
St. Thomas Aquinas High School
Fort Lauderdale
Wanda Drozdovitch
Veronica Prevost
Alto 1
International Baccalaureate at Bartow High School
Bartow
Angela Guira
Samuel Rosenkranz*
Tenor 2
William T. Dwyer High School
Palm Beach Gardens
Pam Varnadore
Shayna Singer*
Soprano 2
North Broward Preparatory School
Coconut Creek
Elizabeth Korkos
Aidan Veghte*
Bass 1
Pine Crest School
Fort Lauderdale
Michael Testa
JAZZ ENSEMBLE Student
Instrument
School
School City
Teacher
Ryan Granada
Trumpet 1
Dillard High School
Fort Lauderdale
Christopher Dorsey
Connor Munroe
Tenor Saxophone
Ransom Everglades School
Coconut Grove
Jon Hamm
Anthony Oro
Guitar
Alexander Dreyfoos School of the Arts
West Palm Beach
Pedro Hernandez
School City
Teacher
GUITAR ENSEMBLE Student
Instrument
School
Juan Del Toral
Guitar Part 3
Ronald W. Reagan Doral Senior High School Doral
Alvaro Bermudez
Diego Namnum
Guitar Part 3
Freedom High School
Christopher Perez
Jose Pineda
Guitar Part 4
Ronald W. Reagan Doral Senior High School Doral
Alvaro Bermudez
Gabriel Quintero
Guitar Part 2
Freedom High School
Orlando
Christopher Perez
Jessie Thurman
Guitar Part 3
Harrison School for the Arts
Lakeland
Robert Phillips
Orlando
MODERN BAND Student
Instrument
School
School City
Teacher
Carter Nelson
Guitar
Lincoln High School
Tallahassee
Eric Robles
Soraya Rafat
Guitar
The Bolles School
Jacksonville
Maggie Vance
* Student is a member of the Tri-M Music Honor Society.
November 2019
13
Success Through
Solfège
by Dustin Burgess, PhD
Fa i M R o D e
S
Solfège, or solfeggio, is defined as the practice of singing scales, intervals, and melodic exercises using solmization
syllables (Randel, 1986). The use of solfège in music teaching is commonly found in elementary music programs
and choral programs. Many choral programs use solfège
as a rehearsal and sight-reading strategy (Holt & Jordan,
2008). Solfège is also a foundational part of the elementary teaching methods of Èmile Jaques-Dalcroze and Zoltán Kodály, where traditionally the Dalcroze pedagogy uses
a fixed-do (in which C is always the starting note of the
scale) and the Kodály method uses a movable-do (where the tonic of the scale moves). Regardless of the approach (fixed-do vs. movable-do), solfège has been successfully utilized in elementary music instruction (Campbell & Scott-Kassner, 2014).
At some point in their undergraduate studies, many
music education students have likely studied Edwin
Gordon and his Music Learning Theory. As part of this theory, Gordon (2012) discusses audiation, or inner hearing. Gordon’s theory, along with other music education
research and practice supports the use of singing, audia-
tion, or solfège in every music classroom, including a band classroom (Huenink, 2002; Liperote, 2006; MacKnight, 1975). However, research studies have indicated that band
teachers infrequently use singing or solfège in their daily practice (Burton, 1986; Kretchmer, 1998). This could pos-
sibly be due to a focus on note reading or instrumental pedagogy (Clauhs, 2018). Some band method books, such
as Jump Right In by Azzara, Gordon, and Grunow (2001), incorporate exercises that encourage the development of
audiation skills but are not used that often in beginning band classes in favor of other more popular methods.
Brian Sullivan, an Orange County Public Schools veter-
an band teacher, created an innovative approach to teaching band and has successfully used solfège as a part of his
band curriculum for the past 27 years. Recently, I (Dustin
Burgess) sat down with Brian Sullivan and conducted an interview in order to gain a better understanding of his unique approach to teaching band.
14 F l o r i d a
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a So La DB BS
Do
Ti
What inspired you to use solfège in your teaching?
I was teaching a summer band program along with my wife, Jennifer, at that time at a nearby middle
school. We wanted to offer a four-week beginning band class, and we were concerned about how much (how little)
we would be able to accomplish in that short amount of time. At this point, Jenny and I had been teaching middle
notation, how would we communicate with our mixed-
forever for our beginning classes to really get going, hav-
tem, and we considered using numbers and concert-pitch
standard method books, teaching all of the theory, nota-
solfège syllables. That summer beginning program was
and expecting the students (many of whom, in our com-
haul our beginning curriculum for the coming fall. What
the notation before we even attempted to play the lines.
playing sooner proved to be a life-changer for my wife
school for just a few years, and it always seemed to take
instrument summer group? We needed a shorthand sys-
ing plodded through the first few pages of one of the
letter names to refer to our notes before finally settling on
tion, and symbols as they were presented in the books,
incredibly successful, prompting us to completely over-
munity, struggled with English) to read and understand
started out simply as a shortcut to get summer beginners
We did not want our summer beginners to have to deal
and me, pedagogically speaking!
We decided to focus on playing fundamentals, knowing
DB
with this—we wanted them playing as soon as possible!
that we would cover reading and theory when the school year started in August. Well, without note names and staff
BS
Do you have a background in singing or using solfège?
I do not. My college sight singing was based on
numbers. Jenny’s school used moveable-do solfège,
and I was aware of fixed-do solfège that many of my con-
ducting colleagues, especially those trained abroad, used. Continued on page 16
November 2019
15
Solfège
Continued from page 15
DB BS
Table 1.
Do you use fixed- or
Sullivan Chromatic Solfège System, Fixed-Do, Based on Concert B-flat
Ascending Do Di Re Bb B C
moveable-do?
We decided on fixed-do, with concert B-flat as do. Because we employ
the entire chromatic solfège system (see
Descending Do Ti Te Bb A Ab
Table 1), our students can handle just about any key. Students who continue in music at the college level have had no
problem making the switch to moveable-do, and they have expressed tremen-
dous appreciation for their early solfège training.
DB
Describe how you use solfège in your teaching.
DB
Ri C#
Mi D
Fa Eb
La G
Le Gb
Sol Se F Fb
How often do you use solfège? Do you use it with all your
ensembles? Do you feel it has
contributed to the overall success of your program?
Fi E
Sol Si F F#
La Li G G#
Ti A
Fa Eb
Me Re Db C
Ra Do Cb Bb
DB
Mi D
Do Bb
You have created your own
method book. Describe your
method book.
BS
My book is intended to be a threeyear resource for my students, con-
Every day, every class! As I men-
taining just about everything (other than
single-syllable solfège words for concert
has been such a game-changer for me. It’s
cover with them in middle school as well
six syllables (example: con-cert E nat-ur-
own ear has gotten so much better. I can
BS
In a nutshell, the Sullivan Solfège
System (catchy, huh?) substitutes
pitch letter names, which require three to
al). We still teach standard transposed and concert pitch letter names, which are
needed to fully grasp certain theory concepts such as key signatures and chord
symbols, but solfège is our primary lan-
guage during band class. Before playing a
line, the class sings it, and singing in
solfège is less cumbersome and much more musical than trying to sing with letter names, and it demonstrates musical
literacy better than neutral (“la la la”) syllables.
DB BS
What is the student response to singing in band class?
We do it from day one in beginning band, so they’re used to it. One of
our mantras is, “First we say it, then we
play it!” For some reason, kids who might feel funny “singing” something in class have no problem “saying” the exact same
thing. While they’re singing the line (oops—I mean while they’re saying the
line), I am supporting their pitch by play-
BS
fun, it’s student-friendly, it’s effective. My sight sing and audiate at a much higher
level than before. It allows students to work together and learn from each other. They have a common language—they are
no longer in segregated groups according to their clef or transposition requirements. It allows for more efficient rehearsals,
even involving advanced full-band compositions. If a section of the band is hav-
ing trouble with a challenging musical
fragment, I can have the entire ensemble practice it simply by follow-the-leader exercises—I sing it, they play it. No need
to write it out on the staff board five or six
different ways. Beginning-of-class warmup activities can be improvised and varied endlessly. If I can think it up, my band
can play it right then and there. We know that having band students sing in rehears-
al is a desirable goal—the solfège system makes this easier and more effective. It
allows the director to concentrate on musicality, rather than getting hung up on notation and theory.
ing along on an electric keyboard I have by my podium.
16 F l o r i d a
tioned earlier, discovery of solfège
Music Director
performance repertoire) that I hope to as advanced supplemental material for
the more “gung-ho” stars. It includes my beginning band curriculum, warm-ups
and technique exercises for advanced classes, and extensive theory material. It can actually be used by any director with
their own program. The only unconventional wrinkle is the inclusion of the solfège names (alongside standard letter names) as new notes are introduced.
DB
Why do you think solfège is not frequently used by band
directors? Would you like to see it become a more common practice?
BS
I certainly wish it was used by more
directors. It would certainly help
with students as they transition from one
middle school to another, or from middle school to high school. I’m sure a big reason more directors don’t use it is simply
lack of familiarity—very few if any of us
learned it during our own band experience, and there’s a natural suspicion of something so unconventional. And, frankly speaking now, not every director has (or thinks they have) the musical
chops to make it work. You must have (or
A graduate of Winter Park High School, he
holds a bachelor’s degree from the University
of Florida and a master’s degree from Florida State University. A recent recipient of the FBA’s prestigious Oliver Hobbs Award, he is a busy FBA adjudicator and is the primary
trainer of new adjudicators for that organization.
References Azzara, C. D., Gordon, E. E., & Grunow, R. F. (2001). Jump right in: The instrumental series. Chicago, IL: GIA Publications. Photo: Tatiana Veras
Burton, J. B. (1986). A study to determine the extent to which vocalization is used as an instructional technique in selected public high school, public junior college, and state university band rehearsals: Alabama, Georgia, Louisiana, and Mississippi (Doctoral dissertation). Retrieved from ProQuest Dissertations & Theses Global. (8626438)
be willing to develop) a good (better) ear,
your readers would like to explore this
new funny-sounding words, and you
sullivan@ocps.net.
you must be willing to learn a bunch of
must be capable of singing with confi-
with me, I welcome their emails at brian.
dence and good pitch accuracy, with or
Dustin
very least, if a director chooses not to use
music education at Shorter
without support from a keyboard. At the
a solfège system themselves, I hope they
would be open-minded and professional enough not to unfairly disparage it when
discussing it with students, parents, or other directors.
DB
Any suggestions or resources for band directors that would like to
use solfège in their teaching?
Burgess,
University
in
Rome,
the director of music educa-
Holt, M., & Jordan, J. (2008). The school choral program. Chicago, IL: GIA Publications.
tion with an emphasis in wind conducting at
Huenink, J. S. (2002). Sing it, hear it, play it! Teaching Music, 10(1), 56-61.
tion. He completed the PhD in music educa-
the University of Florida. Previous teaching
ers. (Although, I’ve had great success
using it in rehearsals of honor bands I’ve
conducted over the course of a day or two—those kinds of kids really tend to
appreciate challenges like that!) If any of
Kretchmer, D. L. (1998). Phenomenological instructional techniques employed in beginning instrumental materials (Master’s thesis). Retrieved from ProQuest Dissertations & Theses Global. (1394586)
positions for Dr. Burgess include music programs in Pennsylvania, North Carolina, and Florida.
at Glenridge Middle School
upon a class of second- or third-year play-
Gordon, E. E. (2012). Learning sequences in music (8th ed.). Chicago, IL: GIA Publications.
Georgia, where he serves as
have to stay one new note ahead of them! It would be a little awkward to force it
Cohen, A. (2016). Starting a Kodály-inspired beginner band: Six tips for success. Kodály Envoy, 42(3), 14-15.
is assistant professor of
Brian Sullivan is in his
of beginners. This way, you’ll just
Clauhs, M. (2018, June). Beginning band without a stand: Fostering creative musicianship in early instrumental programs. Music Educators Journal, 104(4), 39-47. doi:10.1177/0027432118768383
PhD,
I’d suggest trying it out with a class
BS
Campbell, P. S., & Scott-Kassner, C. (2014). Music in childhood: From preschool through the elementary grades (4th ed.). Boston, MA: Schirmer Cengage Learning.
Liperote, K. (2006, September). Audiation for beginning instrumentalists: Listen, speak, read, write. Music Educators Journal, 93(1), 46-52. doi:10.1177/002743210609300123
15th year as band director
MacKnight, C. B. (1975). Music reading ability of beginning wind instrumentalists after melodic instruction. Journal of Research in Music Education, 23(1), 23-34. doi:10.2307/3345200
in Winter Park, Florida— the
school
he
attended
Randel, D. M. (Ed.). (1986). The new Harvard dictionary of music. London: The Belknap Press of Harvard University press.
“back in the day.” Prior to
his Glenridge post, he taught middle school
band in Osceola County, high school band in Brevard County, and led several professional,
university, community, and youth orchestras.
November 2019
17
T HE S CHOOL
OF
M USIC
presents
T HE T HIRTIETH A NNUAL FLORIDA BANDMASTERS ASSOCIATION HALL OF FAME
Roll of Distinction Concert HONORING THE
Gary D. Green E ME R I T US P R OF E S S OR OF M US I C A N D D I R E C T OR OF B A N D S , F R OS T S C HOOL OF M US I C U N I V E R S I T Y OF M I A MI
2019 I NDUCTEES
Leander A. Kirksey (1909-1995) D I R E C T OR OF B A ND S , F L OR I D A A&M U N I V E R S I T Y D I R E C T OR OF B A N D S , I ND US T R I A L H I GH S C HOOL / R OOS E V E L T H I GH S C HOOL
featuring
Southern Winds D OUGLAS L. P HI LLI PS , C ONDUCTOR
S ATURDAY , N OVEMBER 23, 2019 • 7:30 P.M. E LIZABETH H ALL - L EE C HAPEL
18 F l o r i d a
Music Director
T HE S CHOOL
OF
M USIC
presents
T HE T HIRTIETH A NNUAL FLORIDA BANDMASTERS ASSOCIATION
Hall of Fame Concert HONORING THE
2019 I NDUCTEES
Eddie Steadman
Joe Hooten
D I R E C T OR OF B A ND S (R E T .) R UC K E L M I D D L E S C HOOL
D I R E C T OR OF B A N D S (R E T .) J.M. T A T E H I GH S C HOOL
featuring
Stetson University Symphonic Band D OUGLAS L. P HI LLI PS , C ONDUCTOR
S UNDAY , N OVEMBER 24, 2019 • 4:00 P.M. E LIZABETH H ALL - L EE C HAPEL
November 2019
19
How do I get to the conference? Making your case to attend the 2020 FMEA Professional Development Conference
G
etting approval to attend the Florida Music
Education
Association
Professional Development Conference may require developing a proposal. Due
to tight budgets in today’s economy, school principals and district officials
carefully scrutinize requests to attend professional development. That does not mean you shouldn’t give it your best
effort by showing your administrators
how your attendance will benefit the stu-
dents in your school. Rather than assuming your administrators are aware of the
critical importance of you professionally 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
personal contributions to the attain-
funding you will need, detail your case
education and how it will benefit your
and make note of the clinicians and
download the conference schedule, list
ment of those goals and strategies,
articulate the need for your continuing
others you will be able to observe
students, your school, and you.
«« Write
and/or with whom you will be able
Develop Your Case
to interact while at the conference. List the high-quality performances
down three of the most
you will observe and from which you
important goals and strategies being
«« Think about how you personally con-
will learn. You can download the con-
addressed in your school’s plan.
tribute to those three goals and strate-
gies. How does your work as a music educator affect the overall mission of
your school? Make a list of your per-
ference app from the FMEA’s website
«« Write
and bookmark your sessions.
attending the FMEA Professional Development Conference and meet-
ing the people there will help you
sonal contributions to your school’s
«« Review the conference’s professional
contribute to your school’s goals and
goals and strategies.
strategies, and use this case with your administrators when making your
development schedule to better under-
request to attend the conference.
stand how the information provided will support your school’s goals. Mark meetings that relate to your list of
20 F l o r i d a
down your case for how
When you create your proposal, in
addition to providing a summary of the
Music Director
for attending. List your school’s goals, the sessions and the clinicians and presenters who will be there, and list the spe-
cific sessions you plan to attend. Also, list the performing groups you will have the opportunity to observe during rehearsals with national clinicians as well as the performances by these well-known conductors (from whom you can gain program-
ming and conducting ideas). Additionally, let your administrators know that this conference has more than 10,000 teachers, administrators, students, and parents in
attendance, the second largest music education conference in the nation.
Finally, ask your administrators to sup-
port you to attend the FMEA Professional Development Conference in Tampa, January 8-11, 2020.
2020 FM E A Professi ona l Development Conference E CEL
B
IN R AT
G
J a n u a r y 8 -1 1 , 2 0 2 0 Ta m p a C o n v e n t i o n C e n t e r 3 3 3 S o u t h F r a n k l i n , S t r e e t , Ta m p a , F l o r i d a All registration information must be entered online at flmusiced.org/flmusicapps/conference/
REGISTRATION FEES Description
Preregistration Rates: Now- Dec. 6
On-Site Rates:
Director/Member
$138
$168
Collegiate Member
$58
$88
Retired Member
$0
$0
Non-Teaching Spouse
$73
$98
Non-Teaching Spouse of Retired Member
$0
$0
Paid Chaperone
$53
$73
Free Chaperone
$0
$0
All-State Student
$63
$93
Tri-M Student
$38
$38
Preconference Workshop
$58
$68
we ask that you please provide the ACTUAL,
Preconference Workshop (First-Year Teachers)
$25
$25
for each of your students and chaperones and
Concert Tickets
$15
$15
VIP Member
$0
$0
VIP Preconference Workshop
$0
$0
Leadership Workshop Student
$38
$38
Leadership Workshop Chaperone
$0
$0
Student Experience - Student
$38
$38
Student Experience - Chaperone
$38
$38
register. 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 prereg-
istration deadline or to pay online instantly with a credit card until the preregistration deadline on December 6, 2019.
Please Note: To assist our members, their stu-
dents, and chaperones as they visit exhibit booths,
all badges will have a barcode encoded with contact information. Attendees will be able to allow exhibitors to scan their badges rather than
manually writing information on contact cards or mailing lists at their booths. In order to maintain
a positive relationship with our exhibitors who can benefit your students through scholarships,
new equipment, sheet music, software, and more, CORRECT MAILING ADDRESS and EMAIL do NOT simply enter your school address or other incorrect information.
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 2019
21
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
FSMA, 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 director from that student’s school, then the principal from that school must
furnish a letter designating the person from the school or school district who is to be in charge of that student. The letter should 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. This does not release the director from the requirement that he or she must be registered for the conference. If approved, the person designated in the letter will pick up the
director’s preregistration packet and supervise the student at all times.
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 or those approved for the Student Experience program who are registered and participating in
sessions or working for the all-state concerts are exempt from this rule. Chaperones or other attendees are not allowed to bring
children who are not participating in an all-state ensemble. Only
registered students, teachers, and chaperones wearing a conference badge are allowed in and around the rehearsals and conference
areas. Please make child care arrangements before attending the conference.
CHAPERONE REGISTRATION Chaperone registration is based on the following rules:
«« For each elementary student registered, one ELEMENTARY STUDENTS
free chaperone and one paid chaperone
«« Any additional attendees must purchase a may be registered.
guest pass at on-site registration for entry into the convention center.
MIDDLE SCHOOL AND HIGH SCHOOL STUDENTS
«« For every six students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may
be registered until the seventh student is
«« Any additional attendees (chaperones registered.
or guests) must purchase a guest pass
at on-site registration for entry into the convention center.
«« If you have students in more than one EXCEPTIONS
performing ensemble, you may pay for a
chaperone for each performing ensemble in
«« If you have students from different schools, which you have registered students.
you may pay for a chaperone for each school for which you have registered
7. All Florida school music teachers must register for the conference
as FMEA directors and be current members of FMEA and NAfME.
students.
This includes directors of all-state students, invited performing
Chaperones are not allowed to bring children
from Florida schools, colleges, or universities must also be FMEA
ensemble. Only registered students, teachers,
Collegiate students must be collegiate members of FMEA and
are allowed in and around the rehearsal
members of NAfME. Attendees who live outside of the United
chaperones are aware of this policy before
groups, mini-concerts, and session presenters. All-state conductors
who are not participating in an all-state
members. No current music teacher may register as a chaperone.
and chaperones wearing a conference badge
NAfME. Attendees who live outside of Florida must be current
areas. Directors are asked to make sure their
States may contact our office for registration instructions.
agreeing to serve as a chaperone.
22 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 attendees (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 packet.
5. A director who registers on site may purchase all-
state concert 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
ALL CONCERT TICKET SALES ARE FINAL.
NO REFUNDS OR EXCHANGES. Please make sure you know the exact name of the all-state
ensemble for which you need tickets before approaching the ticket sales window
performing students at the conference on-site
registration desk or at a designated ticket sales location 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 nonrefundable.
9. For entrance, ticket, 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
REFUND POLICIES 1. Full registration refunds are available for cancellation requests made through December 15, 2019.
2. No registration refunds will be made for cancellations made after December 15, 2019, 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, 2020. Requests received after that date will not be processed.
purposes of entrance, ticketing, etc., is the 2 pm
5. All refunds will be issued after the conference is
and the All-State SSAA Chorus.
6. Concert tickets are non-refundable.
concert on Saturday for the All-State TTBB Chorus
completed.
November 2019
23
2020 FM E A Professi ona l Development Conference
Hotels Contracted for 2020 FMEA Professional Development Conference The Florida Music Education Association has contracted the following Tampa hotels for the January 8-11, 2020, Professional
Development Conference. Please tele-
phone your hotel of choice directly from the list on the following page beginning
September 21, 2019, at 9 am EDT. Guest
rooms at the contracted rates are available until the room block is full or until the
cancellation deadline of November 9, 2019, at 5 pm. If your hotel of choice is sold
out, please continue to try to make a res-
ervation until November 9, 2019, as FMEA attendees will periodically release surplus guest rooms.
A maximum of five (5) guest rooms
may be reserved per teacher and/or
parent. Each and all rooms reserved on
November 12, 2019, will be charged a non-refundable, one-night fee to the
responsible credit cardholder. (Invalid credit cards risk a reservation cancellation.)
We urge any guest holding surplus
reservations/rooms to cancel excess reser-
vation(s) as soon as possible and no later than 5 pm on November 9, 2019, and you
must secure a cancellation confirmation number. (This courtesy will make sur-
plus rooms available to other guests.) In order to receive complimentary rehearsal
and meeting space, you should book guest rooms in the hotel you are using for your group functions.
NOTE: FMEA IS NOT offering a
housing bureau service. All participants
MUST call the hotels directly beginning September 21, 2019, at 9 am EDT and request the “Florida Music Education
Association” room block rate and confirm the guest room rate posted below. We look forward to seeing you in Tampa!
24 F l o r i d a
HOTEL — Cutoff date: 11/9/19
ROOM RATES
Group Code: FMEA unless otherwise noted
Single
Double
Triple
Quad
Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 (813) 223-1351, Comp. internet; $10 parking
$143
$143
$143
$143
Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 (813) 229-1100, ext. 1, Comp. internet; $20 valet only
$154
$154
$154
$154
DoubleTree by Hilton Tampa Airport Westshore 4500 West Cypress Street, Tampa, FL 33607 (800) 514-3959, ext. 1, Comp. internet & parking
$157
$157
$157
$157
Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 (813) 769-8300, ext. 1
$249
$249
$259
$269
Embassy Suites Tampa Airport Westshore 555 North Westshore Blvd., Tampa, FL 33609 (800) EMBASSY, Group Code: FME or FMEA 2020
$193
$193
(up to 5 in room)
(up to 6 in room)
Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 (800) 368-7764, Comp. internet
$142
$142
$142
$142
Hampton Inn Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602, Group Code: FME (813) 525-9900, ext. 1, Comp. internet & breakfast; $15 parking
$185
$185
$185
$185
Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 (800) 445-8667, ext. 1, $9.99 internet (Comp. for HH); $24 valet
$208
$208
$208
$208
Holiday Inn Tampa Westshore Airport 700 North Westshore Blvd., Tampa, FL 33609 (800) 465-4329, Group Code: FMA, Comp. internet & parking
$124
$124
$124
$124
Home2 Suites Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602, Group Code: FMA (813) 525-9900, ext. 2, Comp. internet & breakfast; $15 parking
$215
$215
$215
$215
Tampa Marriott Water Street (formerly Marriott Waterside) 700 South Florida Avenue, Tampa, FL 33602 (888) 789-3090, ext. 3, Comp. internet for Bonvoy members; $27 overnight valet & $15 daytime valet
$205
$205
$205
$205
Residence Inn 101 East Tyler Street, Tampa, FL 33602 (813) 221-4224, Comp. internet; $17 self-parking
$176
$176
$176
$176
Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 (888) 236-2427, Comp. internet
$199
$199
$219
$219
Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 (800) 937-8461, Comp. internet; $30 valet
$199
$199
$199
$199
Music Director
$203
$213
Student Leadership Workshop The keynote speaker and clinician for the 2020 Student Leadership Workshop will be…
Fran Kick. Mr. Kick will bring his high-energy, interactive presentation style to FMEA in this humorous, informative, educational, and entertaining workshop. The workshop is designed for high school student leaders. All participants will be actively involved through activities, examples, and valuable information. students will be exposed to the following:
• • • • • •
Setting High Standards of Excellence Fundamentals of Self-Discipline Effective Communication Principles Value of Risk Behavior Modification vs. Motivation Dealing With Insecurities
Students who are not in an all-state ensemble can receive a one-day exhibit pass for Thursday, but are expected to travel home on Thursday afternoon with a chaperone. Students may not stay for the rest of the week if they are not in an all-state ensemble. Students who ARE in an all-state ensemble or who are also attending the conference as a Tri-M student or are attending the Student Conference Experience must also be registered for the conference. Chaperones who will be attending for the remainder of the week must also be registered for the conference. Wednesday, January 8, 2020, 1 pm–4:30 pm Tampa Convention Center, West Hall A The cost for the workshop is $38 per student. Chaperones are free. Register as part of your FMEA conference registration. go to: flmusiced.org/FLMusicApps/Conference/Register/
November 2019
25
All-State Rehearsals ALL-STATE CONCERT BAND
ALL-STATE ELEMENTARY CHORUS
ALL-STATE INTERCOLLEGIATE BAND
RESEATING AUDITIONS: SR, Riverwalk Ballroom Thursday.............................................. 9am-11am
REHEARSALS: TCC, 14 Wednesday........................................ 12noon-1pm Wednesday.............................................1pm-6pm Thursday.............................................. 8am-11am Thursday..................................11:45am-12:45pm
RESEATING AUDITIONS: DW, Lake Forest Ballroom Wednesday..............................11:30am-12:45 pm
REHEARSALS: SR, Riverwalk Ballroom Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday............................................ 9am-12noon CONCERT: Saturday, January 11, 2020, 1:30pm TCC, Ballroom A ALL-STATE CONCERT CHORUS REHEARSALS: TMWS, Grand Ballroom Thursday.........................................8am-11:30am Thursday..................................... 1:30pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday.........................................8:30am-11:30am Friday............................................... 1:30pm-4pm
CONCERT: Thursday, January 9, 2020, 1:30pm TCC, Ballroom A ALL-STATE ELEMENTARY ORFF ENSEMBLE REHEARSALS: TCC Thursday................ 10am-11am, TCC, West Hall A Thursday..................11am-6pm, TCC, West Hall A Friday 8:45am-10:15am............................TCC, 14 Friday 10:45am-1pm....................TCC, Ballroom A CONCERT: Friday, January 10, 2020, 1pm TCC, Ballroom A
REHEARSALS: DW, Lake Forest Ballroom Wednesday.........................................1pm-4:30pm Wednesday................................... 6:30pm-9:30pm Thursday........................................8:30am-12noon Thursday.......................................1:30pm-4:30pm Thursday.......................................8:30pm-9:15pm TCC, room TBA CONCERT: Thursday, January 9, 2020, 9:30pm TCC, Ballroom A ALL-STATE MIDDLE SCHOOL BAND RESEATING AUDITIONS: HD, Palma Ceia Thursday.............................................. 9am-11am
CONCERT: Saturday, January 11, 2020, 11am TCC, Ballroom A
REHEARSALS: TMWS Tuesday.................................. 7pm-9pm, TMWS, 8
ALL-STATE CONCERT ORCHESTRA
Wednesday........................................8:30am-5pm, TMWS, Florida Ballroom, Salons 1-3
REHEARSALS: HD, Palma Ceia Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday............................................ 9am-12noon TCC, room TBA
RESEATING AUDITIONS: TMWS, rooms TBA Thursday....................................8:30am-11:30am
Thursday...........................8:30am-12noon, TMWS, Florida Ballroom, Salons 1-3
CONCERT: Saturday, January 11, 2020, 1:30pm TCC, Ballroom A
REHEARSALS: TMWS, Florida Ballroom, Salons 5-6 Thursday (Registration)................... 8am-8:30am Thursday................................................1pm-5pm Thursday................................................7pm-9pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday.................................................4pm-5pm
CONCERT: Thursday, January 9, 2020, 12:30pm TCC, 20
ALL-STATE MIDDLE SCHOOL JAZZ BAND
CONCERT: Saturday, January 11, 2020, 6pm TCC, Ballroom A
ALL-STATE GUITAR ENSEMBLE
ALL-STATE HIGH SCHOOL JAZZ BAND REHEARSALS: TCC, 30A Wednesday....................................... 2pm-5:30pm Wednesday.............................................7pm-9pm Thursday....................................8:30am-11:30am Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday........................................... 8:30am-12noon CONCERT: Friday, January 10, 2020, 7:30pm TMWS Grand Ballroom
REHEARSALS: WTW, Conch Room Wednesday....................................... 2pm-5:30pm Wednesday.............................................7pm-9pm Thursday....................................8:30am-11:30am Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday........................................... 8:30am-12noon CONCERT: Friday, January 10, 2020, 7:30pm TMWS, Grand Ballroom ALL-STATE MIDDLE SCHOOL MIXED CHORUS REHEARSALS: HD, Bayshore Ballroom, 1-3 Thursday................................... 12:30pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday........................................8:45 am-11:30am Friday.......................................... 1:30pm-4:30pm Saturday................ 6:30am-8am, TCC, Ballroom A CONCERT: Saturday, January 11, 2020, 8:30am TCC, Ballroom A
26 F l o r i d a
Music Director
KEY DW = Doubletree Westshore
HD = Hilton Downtown
TCC = Tampa Convention Center
ESD = Embassy Suites Downtown
TMWS = Tampa Marriott Water Street
WTW = Westin Tampa Waterside
SR = Sheraton Riverwalk
ALL-STATE MIDDLE SCHOOL ORCHESTRA
ALL-STATE SYMPHONIC BAND
HIGH SCHOOL HONORS BAND
RESEATING AUDITIONS: TMWS, rooms TBA Thursday.........................................9am-11:30am
RESEATING AUDITIONS: TCC, rooms TBA Thursday....................................9:30am-11:30am
RESEATING AUDITIONS: SR, Bayshore Ballroom Thursday.............................................. 9am-11am
REHEARSALS: TMWS, Meeting Room 8 Thursday................................................8am-9am Thursday................................................1pm-5pm Thursday................................................7pm-9pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday........................................10am-12:30pm
REHEARSALS: TCC, 22 Thursday................................... 12:30pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday............................................ 9am-12noon
REHEARSALS: SR, Bayshore Ballroom Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm
CONCERT: Saturday, January 11, 2020, 6pm TCC, Ballroom A ALL-STATE MIDDLE SCHOOL TREBLE CHORUS REHEARSALS: HD, Bayshore Ballroom, 5-7 Thursday...................................... 12noon-4:15pm Thursday..................................... 6:15pm-8:45pm Friday.........................................8:30am-11:15am Friday...........................................1:15pm-4:15pm Saturday................ 6:30am-8am, TCC, Ballroom A CONCERT: Saturday, January 11, 2020, 8:30am TCC, Ballroom A ALL-STATE READING CHORUS REHEARSALS: ES, Gandy Meeting Room Thursday.........................................8am-11:30am Thursday..................................... 1:30pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday.........................................8:30am-11:30am Friday............................................... 1:30pm-4pm Saturday...................................... 8:30am-9:30am CONCERT: Friday, January 10, 2020, 6:30pm TCC, Ballroom A ALL-STATE SSAA CHORUS REHEARSALS: WTW, Oasis Ballroom Thursday.........................................8am-11:30am Thursday..................................... 1:30pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday.........................................8:30am-11:30am Friday.......................................... 1:30pm-4:30pm
CONCERT: Saturday, January 11, 2020, 11am TMWS, Grand Ballroom
CONCERT: Saturday, January 11, 2020, 1:30pm TCC, Ballroom A
HIGH SCHOOL HONORS ORCHESTRA
ALL-STATE SYMPHONIC ORCHESTRA
RESEATING AUDITIONS: ESD, Skyway Ballroom Thursday (Registration)................... 8am-8:30am Thursday....................................8:30am-11:30am Thursday................................................1pm-5pm
RESEATING AUDITIONS: TCC, rooms TBA Thursday....................................8:30am-11:30am REHEARSALS: TCC, 24 Thursday (Registration)................... 8am-8:30am Thursday....................................8:30am-11:30am Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday................................................ 9am-12noon Friday.......................................... 1:30pm-5:30pm Saturday.................................................1pm-3pm
REHEARSALS: ESD, Skyway Ballroom Thursday................................................7pm-9pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday............................................... 9am-10am CONCERT: Saturday, January 11, 2020, 2:30pm TMWS Grand Ballroom
CONCERT: Saturday, January 11, 2020, 6pm TCC, Ballroom A
MIDDLE SCHOOL HONORS BAND
ALL-STATE TTBB CHORUS
RESEATING AUDITIONS: HD, rooms TBA Thursday.............................................. 9am-11am
REHEARSALS: ESD, Bayside Ballroom Thursday.........................................8am-11:30am Thursday..................................... 1:30pm-4:30pm Thursday.......................................... 6:30pm-9pm Friday.........................................8:30am-11:30am Friday............................................... 1:30pm-4pm
REHEARSALS: HD, Esplanade Suite Thursday................................................1pm-5pm Thursday.......................................... 7pm-9:30pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm CONCERT: Saturday, January 11, 2020, 11am TMWS, Grand Ballroom
CONCERT: Friday, January 10, 2020, 6:30pm TCC, Ballroom A
MIDDLE SCHOOL HONORS ORCHESTRA REHEARSALS: SR, Riverview Room Thursday (Registration)................... 8am-8:30am Thursday....................................8:30am-11:30am Thursday................................................1pm-5pm Thursday................................................7pm-9pm Friday.........................................8:30am-11:30am Friday.....................................................1pm-5pm Saturday............................................... 9am-10am
CONCERT: Friday, January 10, 2020, 9pm TCC, Ballroom A
CONCERT: Saturday, January 11, 2020, 2:30pm TMWS, Grand Ballroom
November 2019
27
NEW SECURITY PROCEDURES The Florida Music Education Association is working with the Tampa Police Department and Allied Universal Security at the Tampa Convention Center (TCC) to enhance the conference experience for the students and attendees. GREAT NEWS! In order to help keep attendees safe, there will be a heightened security presence throughout the Tampa Convention Center and at various hotels. All entrances to TCC will be patrolled by uniformed officers of the Tampa Police Department and uniformed Allied Universal Security personnel. They will be patrolling the Tampa Convention Center as well. The Tampa Police Department will be at the crosswalks between Marriott Tampa Water Street and TCC, at concerts, and patrolling some of the downtown hotels during rehearsals. All attendees (this includes members, chaperones, and student participants) must wear their conference badge during the conference once the authorized registrant obtains the conference packet. Please be prepared for random bag and/or purse searches. It is encouraged, if at all possible, to use a clear bag, similar to those used at sporting events, for entrance.
ENJOY THE CONFERENCE EXPERIENCE.
28 F l o r i d a
Music Director
Getthereadyconfeforrence… IMPORTANT DATES NOVEMBER 9 • 5 PM The hotel room cancellation deadline is at 5 pm. NOVEMBER 12 Hotels will charge your credit card a nonrefundable deposit for the first night of each room held. DECEMBER 6 • 11:59 PM Preregistration closes. Payment must be postmarked on or before December 6 if you are paying by check. All registrations not received or postmarked by December 6 will pay the on-site rate. DECEMBER 7 You can enter students and chaperones online to make on-site registration easier, but you will need to stand in the ON-SITE registration line to print your badges and pay when you arrive at the conference. DECEMBER 15 All school lodging checks are due, payable to the hotel where reservations were made for you and/or your students.
November 2019
29
FLORIDA MUSIC EDUCATION ASSOCIATION 2019-2020 DONORS
Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.
Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund
June M. Hinckley Scholarship
Music Education Advocacy
Professional Development for Members
General Fund
Mel & Sally Schiff Music Education Relief Fund
The following have graciously donated to FMEA from April 1, 2019, through October 3, 2019.
ARTIST’S CIRCLE
MAESTRO’S CIRCLE
($1,000 – $9,999)
($10,000 and up) No current donors at this time
All County Music, Inc. Clifford Madsen Russell Robinson
SUSTAINERS ($100 – $999)
Artie Almeida In Memory of June Audrey Grace Lucinda Balistreri In Memory of June Hinckley Shelton Berg Anthony Chiarito Alice-Ann Darrow In Memory of Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Shirley Kirwin
30 F l o r i d a
Cynthia Heidel Dennis Holt In Memory of Dr. Gerson Yessin Llewellyn Humphrey Steven Kelly Carlton Kilpatrick Sheila King In Memory of John W. King Cathi Leibinger In Memory of Linda Mann; In Honor of Ken Williams
Music Director
Jason Locker In Memory of June M. Hinckley Angel Marchese Carolyn Minear Edward Prasse On Behalf of Nancy Masters Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer
Steven Salo In Honor of John Jamison & Dr. Bill Prince Kathleen Sanz In Memory of June M. Hinckley J. Mark Scott In Honor of Judy Arthur & Judy Bowers Karen Smith In Memory of Retired SFC Alfred C. & Nita Greening
Harry Spyker In Honor of Fred J. & Marleen Miller Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot Robert Todd In Memory of Gary Rivenbark Richard Uhler David Williams Kenneth Williams
PATRONS ($25 – $99)
Carlos Abril Judy Arthur In Memory of Ray Kickliter Shawn Barat In Memory of Duane L. Hendon Jessica Blakley In Memory of John Rose Karen Bradley In Memory of Harold Bradley Jamie Bryan In Memory of Wes Rainer Katarzyna (Kasia) Bugaj Dana Burt Stanley Butts Carol Casey Dale Choate
Don Coffman Dayna Cole In Memory of Linda Mann Erin Cushing Virginia Dickert In Memory of Lindsay Keller & Debbie Liles Jason Dobson Michael Dye Judith Evans Melanie Faulkner Bradley Franks In Memory of Gary W. Rivenbark Mark Goff Louise Gore Sharon Graham John Henderson
Stanley Hoch Marsha Juday Pauline Latorre Joseph Luechauer Kevin Lusk Cak Marshall In Memory of Sylvia Perry of Peripole, Inc. Stephen Mayo Robert McCormick Kim Miles Ree Nathan John Nista Mary Palmer Harry “Skip” Pardee On Behalf of Quinn & Vivienne Pardee
Galen Peters David Pletincks In Honor of Alexis & Jonathan Pletincks Edward Prasse C. William Renfroe In Memory of Herb Beam, Past FVA President Jeanne Reynolds Rollins College Department of Music Alicia Romero-Sardinas In Honor of John Rose Cristyn Schroder Thomas Silliman In Honor of Dr. Thomas Silliman, Sr. John Southall
Timothy Stafford In Honor of Olive Stafford Sharon Tacot John Watkins John Weaver Howard Weinstein In Memory of Barry Weinstein Farryn Weiss Donald West In Honor of Melvin Maxwell Anonymous (5) In Memory of Elliot Tannenbaum
FRIENDS (up to $24)
Carmen Aquino Ernesto Bayola Richard Beckford Jessica Calandra Ella Carr Renee Cartee Kelly Chisholm Blair Clawson In Memory of Shirley Kirwin David Cruz Richard Dasher
Matthew Davis In Memory of Robert Morrison Debbie Fahmie Jenny Freeman Tina Gill In Memory of Gary W. Rivenbark Lise Gilly Gerry Hacker Harold Hankerson Cheryce Harris Angela Hartvigsen
Ashton Horton Aisha Ivey Jason Jerald Rolanda Jones In Memory of June M. Hinckley Catherine Lee Anthony Lichtenberg Claudia Lusararian In Honor of Sue Byo Deborah Mar In Memory of Mrs. Barbara Kingman
Matthew McCutchen In Honor of John C. Carmichael Kristy Pagan Hank Phillips Marie Radloff In Memory of Charles F. Ulrey Emma Roser Stacie Rossow Edgar Rubio Melissa Salek Jack Salley
John Sinclair Thomas Stancampiano Phil Tempkins Gary Ulrich Billy B. Williamson Matthew Workman Richard Yaklich Anonymous (5) In Memory of Tom Damato
DONATE TODAY FOR A STRONGER TOMORROW. With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts, and improve your professional development opportunities. Visit FMEA.org to learn more information about each fund and to make a donation.
November 2019
31
ResearchPuzzles FOR MUSIC TEACHERS This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
RESEARCH COMMITTEE CHAIRMAN
Don D. Coffman, PhD University of Miami
Taking a moment to celebrate …
T
his month’s column marks the 100th appearance of “Research Puzzles.” From July 2007 to May 2013, my predecessor and friend Victor Fung (University of South Florida) prepared 48 installments of this column, with the hope
that readers would have a better understanding of the research process through reading the column over an extended
period of time. Each of his monthly contributions presented two questions with short answers, such as “What is a random sample?”, and during his six years he provided answers for nearly 100 questions. I became research chairman
in 2013 and shifted the column’s direction a bit, presenting questions that reflected the findings of published research studies. I’ve had some help along the way from members of the FMEA Research Committee—thank you, Bill Bauer, Cathy Benedict, Jennifer Bugos, Sangmi Kang, Michael Zelenak, and Steve Zdzinski for your contributions. What’s the outlook for high school and college enrollments?
Recently a colleague recommended a book by Nathan D. Grawe, Demographics and the Demand for Higher Education. The webpage from the publisher presents this sobering news:
Higher education faces a looming demographic storm. Decades-long patterns in fertility, migration, and immigration persistently nudge the country toward the Hispanic Southwest. As a result, the Northeast and Midwest—traditional higher education strongholds—expect to lose 5 percent of their college-aged populations
between now and the mid-2020s. Furthermore, and in response to the Great Recession, child-bearing has plum-
meted. In 2026, when the front edge of this birth dearth reaches college campuses, the number of college-aged students will drop almost 15 percent in just 5 years. … The future demand for college attendance, he argues, depends critically on institution type. While many schools face painful contractions, for example, demand for elite schools is expected to grow by more than 15 percent in future years (John Hopkins University Press).
This prompted me to do some more browsing about high school enrollments, and in one source (Seltzer, 2016), I
found detailed projections about a plateau in overall graduation numbers but a sizable increase in Hispanic students for the next 10 years. Higher education and PK-12 institutions indeed face some significant challenges in coming years that will vary by region and type of institution.
How might we respond as music teachers? Changes in demographics are beyond our control, yet our potential to
influence locally and statewide does make a difference. Being open to change and adapting our teaching to meet stu-
dents’ needs and interests is something I sense that FMEA members do well. I’m still a relative newcomer to Florida
(since 2011), but I continue to be impressed and enthused about a state whose music teachers, for example, support an
all-state guitar ensemble and, more recently, the Crossover Music Festival. Maintaining the status quo will not be
realistic for many teachers, so reflecting on who we will find in our classrooms, or who we might consider for our ensembles, or even the types of ensembles we offer is perhaps more important now than ever before. References John Hopkins University Press. (n.d.). Retrieved from https://jhupbooks.press.jhu.edu/title/demographics-and-demand-higher-education Seltzer, R. (2016, December 6). The high school graduate plateau. Retrieved from Inside Higher Ed: https://www.insidehighered.com/news/2016/12/06/high-school-graduates-drop-number-and-be-increasingly-diverse
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.
32 F l o r i d a
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ComponentNews
FLORIDA BANDMASTERS ASSOCIATION
Cathi Leibinger, President
presenter will be our 2020 FBA Hall of
Fame inductee Eddie Steadman discussing “Individual Musicianship in Middle School Band—How to Raise the Bar.”
We have some amazing clinicians
working with our student ensembles as well. Dr. David Waybright (University of
Florida) will be conducting the All-State Symphonic Band, and Dr. David Ragsdale
(University of Alabama Huntsville) will
be conducting the All-State Concert Band.
The All-State Middle School Band will be led by Michael Garasi (North Broward
Preparatory School) and will premiere a new piece by Haley Woodrow, entitled HIM, about the hurricanes of 2017 that
hit Florida. Jody Dunn (Crestview High
W
hile the start of the school year
discussion of the motivations of directors
love fall. My students and I are settling
Unfortunately, the conference allows for
seems like a crazy, mad dash, I
into a good routine and adjusting to our
newly adopted rotating block schedule. The kids are much better at this; I still
and accolades from the entire school
community. The time seems to go by so quickly, and now it is time to start looking ahead to the 2020 FMEA Professional
Development Conference to be held in Tampa, January 8-11.
Our FBA clinics committee spends
nical pedagogy as well as on high-level
music interpretation. There is even a deep
and the Middle School Jazz Band will
have a wonderful time with Cleve A.
Maloon (Conservatory School at North Palm Beach).
2020 is an FBA election year, and we
from the University of South Florida.
The ever-popular “Fix-It” clinics hosted
have two wonderful candidates for the
Erin Bodnar of the University of North
Barat and Bernard Hendricks, Jr. Their
position of president-elect in Shawn
by Ivan Wansley are always popular.
profiles are in the October issue of
Florida will be discussing “Cognitive
Florida Music Director. This year, voting
Conducting: Using Mental Activities to
will be done online through the FMEA
Aid Our Movement.”
website, allowing voting members who
FBA presents the Tom Bishop Award
in a relatively short period of time, and
There is a focus on practicality and tech-
at Duquesne University in Pittsburgh),
Myth” presented by Matthew McCutchen
amazing group of people carefully con-
as well as those who are quite seasoned.
Tomaro (Mary Pappart School of Music
music list and “The Work-Life Balance
to directors who have gone into a band
siders the needs of the younger teachers
piece written by its conductor, Mike
on the annual selection process of titles
much time looking at the many clinics
proposed to present to our members. This
School Jazz Band will premiere a new
Two of the sessions that will be of
to be added to the FBA concert MPA
the year, which resulted in admiration
Middle School Honor Band. The High
presented.
The beginners are excited that they can
students had their first performance of
Fundamental School) will conduct the
only a fraction of those many ideas to be
most value are Ted Shistle’s presentation
play their first five notes, and the older
Band, and Calista Zebley (Clearwater
and how to manage healthy work habits.
have to look at the calendar, rotation
list, and time chart to figure things out.
School) will lead the High School Honor
are unable to attend the FBA General Session on Thursday to take part in the
program and turned the program around
election. Voting will open in December and close on Thursday, January 9, so
at this year’s FMEA conference, we’ve
the results can be announced at the
assembled a panel of Bishop Award win-
meeting.
ners to give their thoughts on how to
I’m looking forward to seeing everyone
“Turn the Boat Without Capsizing or
there. It will be here before we know it.
Jumping Ship.” Another award-winning
November 2019
33
UNIVERSITY OF FLORIDA SCHOOL OF MUSIC
Welcomes new faculty
Barry Hartz Assistant Professor Music Education
Scott Lee
Sarah Politz
Assistant Professor Composition
Assistant Professor Ethnomusicology
Jose V Ruiz-Resto
Danielle VanTuinen
Silviu Ciulei
Assistant Professor Music Business & Entrepreneurship
Assistant Professor Low Brass, Tuba, Euphonium
Adjunct Assistant Professor Guitar
UNDERGRADUATE DEGREES
GRADUATE DEGREES
PH.D. IN MUSIC
BACHELOR OF MUSIC
MASTER OF MUSIC
Performance
Performance
History & Literature
Music Composition
Conducting
DOCTOR OF MUSICAL ARTS
Music Theory
Theory
Conducting
Combination with an Outside Field
Composition
Composition
Ethnomusicology
Performance
BACHELOR OF MUSIC
History & Literature
IN MUSIC EDUCATION
Sacred Music
BACHELOR OF ARTS
Jazz Studies
Music
MASTER OF MUSIC EDUCATION (campus/online)
Entrepreneurship Event Management
PH.D. IN MUSIC EDUCATION
Music History and Literature Music History and Literature: Ethnomusicology Music Theory or Composition
INCOMING FRESHMEN AUDITION DAYS Saturday, January 18, 2020 Saturday, January 25, 2020 Sunday, January 26, 2020 TRANSFER AUDITION DAY Saturday, March 14, 2020
34 F l o r i d a
Music Director
SCHOOL OF MUSIC APPLICATION
arts.ufl.edu/music
Composition
ComponentNews
FLORIDA VOCAL ASSOCIATION
Jason Locker, President
chairwoman) and I are excited to welcome
Dr. Martha Shaw (High School Concert Chorus), Dr. David Brunner (Reading
Chorus), Dr. Lori Hetzel (SSAA Chorus), Dr. Leslie Blackwell (TTBB Chorus), Dr.
W
ithin the first week of November,
wanted when they were first available
process will be released. Congratulations
hotel of choice around November 9, as
the results of our all-state audition
to all of our students of the 2020 All-State Chorus and to the dedicated music edu-
cators whose sacrifice of time allowed
Jacob Narverud (Middle School Mixed
Chorus), and Dr. Lynne Gackle (Middle
School Treble Chorus) to Florida to work
on September 21, please plan to call your
with your students. We are also blessed to collaborate with Wanda Cantrell,
cancellations typically make a number of
Robin Frank, Lois Henry, Teresa Ancaya,
rooms available at that time.
Chad DeLoach, and Elizabeth Lajeunesse
Also, make sure you register yourself,
at the piano.
them to be prepared for their auditions!
your all-state students, and your chaper-
forget to cancel any reserved hotel rooms
tration closes at 11:59 pm on December 6.
leave this all-state experience with trea-
deal of money by simply meeting the
and moments made with each of these
Once the results are out, please don’t
that you will not need for the FMEA conference in January. The deadline to cancel rooms without penalty is November 9 at 5 pm. Once that deadline has passed, the card on file at the hotel will be charged for the first night of your stay. If
you were not able to get the rooms you
I have no doubt that your students will
ones for the conference before preregis-
sured memories of the beautiful music
You can save your choral program a great
amazing artist-teachers and of the time
preregistration deadline and avoiding
spent with new friends from all over
the increased cost of on-site registration.
Florida. I look forward to sharing with
We have a fabulous group of conduc-
you in their joy! See you in Tampa!
tors joining us for All-State this year! Elizabeth Phillips (FVA middle school
INSPIRE | CREATE | PERFORM
CHANGING LIVES THROUGH THE POWER OF THE ARTS 2019-20 ADMISSION AND SCHOLARSHIP AUDITIONS November 1, 2019 • February 1, 2020 • March 14, 2020 • April 4, 2020 BACHELOR DEGREES OFFERED
Performance • B.A. in Music Music Education • Music Therapy
10501 FGCU Boulevard South Fort Myers, FL 33965-6565 (239) 590-7851
fgcu.edu/cas/music
An All Steinway School
GENEROUS SCHOLARSHIPS AND OUT OF STATE TUITION WAIVERS AVAILABLE FOR TALENTED UNDERGRADUATES
November 2019
35
ComponentNews
FLORIDA NAfME COLLEGIATE
Katherine Attong-Mendes, President
10 Ways
to Enhance Your Education by Mavel Morales
The Oxford dictionary defines education in two ways: The process of receiving or giving systematic instruction, especially at a school or university; also, an enlightening experience. The first definition is the most familiar to students because that is why we attend a university, in order to further our education. The second definition, however, is just as important as the first, if not more so. Professors are wonderful assets to our education, but ultimately, one is responsible for creating one’s own education. Educators can facilitate your success, but you need to cultivate your own experiences. Here are some ways I have found to be incredibly helpful to make me a better person and educator.
1/ Experience live music and art.
Seeing live music is educational, and it
fuels the soul. It is a fundamental element to curating your success. There is a lot
to learn from watching people perform, especially if it is a genre or an art form
with which you are not as well acquainted. We need to be supporting the arts in
all facets because if we do not, then we cannot expect others to follow suit.
2/ Listen to and perform music for fun.
Music students are constantly immersed
in music, and sometimes music is the
last thing they want to think about. It’s important to continue to listen to music for fun to help avoid burnout. Jamming
out with your friends is incredibly beneficial, and can remind you that music is
fun. You’ll be surprised how much you can learn about an ensemble by creating music for your personal enjoyment.
3/ Dress to impress.
Look good, feel good. Sometimes the best way to perform better or to gain courage
36 F l o r i d a
is by dressing up. Never underestimate
band. This has deepened my knowledge
on both your and others’ perception of
more marketable as an educator.
the impact a change of wardrobe can have
you. This is especially true for day-to-day interactions with professionals.
4/ Combine your passions.
Music does not need to feel so separated
from other parts of your life. Find a way to combine what you love. An interdisciplin-
ary database in your head creates a better understanding of the world. Everything is
connected in some way, and by combining different areas of life such as math, philosophy, scuba diving, etc., you’re able
to see those connections and maybe even discover something new.
5/ Experience elements outside of
your comfort zone.
This is about becoming marketable as an educator. Even if you identify as a certain
type of musician, step outside of your comfort zone and familiarize yourself
of music and has allowed me to become
6/ Learn to relax.
Our mental health and physical health are the most important parts of ourselves. We need to learn to take care of ourselves
and to decompress. This can come in
forms such as working out, meditation, mindfulness, sleeping, socializing, etc. The important thing is not what you do; it’s how it helps you.
7/ Be effective, not busy.
It’s easy to be busy because of our involvement with student organizations, jobs,
and homework. The truth is we all have
24 hours in a day. We have to make sure to plan and to organize ourselves effectively
so that our default is not being busy. The better we plan, the more effective we can be.
with areas of music you would not typi-
8/ Ask questions.
sical voice but found myself performing in
life. We are fortunate to live in a world
cally lean toward. In my case, I study clasa Latin jazz orchestra and in the marching
Music Director
Everyone has a different experience in
with people of diverse nationalities,
cultures, beliefs, ideas, and experiences.
u Lead your students to a beautiful sound with
It is important for us to acknowledge that
warm-ups focused on playing in all parts of the bow.
and to seek answers to questions. We do
u Creative Warm-Ups is broken down into four
not have to know all the answers, but we
interchangeable units to provide flexibility:
are responsible for asking the questions.
Sound Intonation • Sound Rhythms • Sound Bowing Fluency and Choreography • Sound Creativity
9/ Know your strengths and
u Develop improvisation and creativity skills with
weaknesses.
exercises ranging from a 17th-century Chaconne to a drone-based Taqsim.
It is important to know what you are
good at and what you are developing in.
Knowing yourself allows you to seek out
people and programs on how to grow. We are always learning, but we can only grow if we know in what areas we need an extra boost.
10/ Involve yourself with activ-
ities outside the music department. The amazing thing about being in an
institution of higher learning is that it caters to everyone. There are many leadership development programs that have
u Develop technical skills through clear,
concise, yet thorough exercises.
u Sound Development presents right-
and left-hand exercises and routines essential for success: Sound Tone • Sound Bowings • Sound Shifting • Sound Scales and Arpeggios
u Focus on how to develop a beautiful
tone with a comprehensive presentation of bow lanes, bow weight, bow speed, shifting, and vibrato.
nothing to do with music and will still benefit you. Becoming a volunteer in your community is a wonderful way to give
back and to understand people better. Joining clubs that have people who study
All levels are available in SI Online and SmartMusic
connect with others. This is a great way to
u Expert MasterClass videos,
different subjects helps you network and
accompaniment tracks, and supplemental exercises are available on SI Online.
form connections with other people and to support each other in your respective
areas of study. You advocate for your pro-
u Empower students with immediate
feedback on their progress with SmartMusic.
fession and they advocate for theirs. Mavel Morales is a
senior at the University of Miami majoring in music
education with minors in
Learn more at alfred.com/SI-Strings.
education and philosophy. She is a mezzo soprano
studying classical voice.
She serves as president of her NAfME chapter and parliamentarian of the Florida NAfME Collegiate State Executive Board.
November 2019
37
ComponentNews S
ince 1863, Americans have annually observed a Thursday at the end of
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD, Advisor
mend to them that while offering
full enjoyment of peace, harmony,
for such singular deliverances and
of the Thirty-Eighth Congress of the
up the ascriptions justly due to Him
November as a day of thanksgiving. On
October 3 of that year, President Abraham
blessings, they do also, with humble
Lincoln signed a proclamation that stated,
penitence for our national perverse-
in part:
ness and disobedience, commend to His tender care all those who have
I do therefore invite my fellow cit-
become widows, orphans, mourners
izens in every part of the United
or sufferers in the lamentable civil
States, and also those who are at sea
strife in which we are unavoidably
and those who are sojourning in for-
engaged, and fervently implore the
eign lands, to set apart and observe
interposition of the Almighty Hand
the last Thursday of November next,
to heal the wounds of the nation and
as a day of Thanksgiving and Praise
to restore it as soon as may be consis-
to our beneficent Father who dwel-
tent with the Divine purposes to the
leth in the Heavens. And I recom-
tranquillity and Union (Public Acts United States, p. 735).
Let us first acknowledge how beauti-
ful our language can be. Wow! What is fascinating about that excerpt is that in 1863, President Lincoln found himself and his country in the middle of a civil
war. Nevertheless, in the midst of the “national perverseness” and “lamentable
civil strife,” Lincoln chose to be thankful.
Throughout the rest of the proclamation, Lincoln describes for his fellow citizens precisely why they ought to give thanks.
He believed the U.S. population to be
increasing (in spite of the ongoing mili-
tary conflict), industry and the economy FLORIDA ORCHESTRA ASSOCIATION
Matthew Davis, President
to be growing, and perhaps most importantly, no foreign powers had decided to
take advantage of America’s military vulnerability during the Civil War. Whew!
H
appy fall, everyone! I hope you have begun to feel a little relief from the heat as we move toward preparation for the holidays and that all is well in
your classrooms thus far.
As we follow close on the heels of an outstanding Fall Conference, the plan-
ning committee welcomes your ideas for future sessions. Please begin thinking of topics for the 2020 Fall Conference, and share them with us so we may best
serve you. We also need people to serve as all-state coordinators for the 7-8
Middle School Orchestra, 9-10 Concert Orchestra, and 9-12 High School Honors Orchestra. 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 those students who prepared and auditioned for our
all-state ensembles, and thank you to the teachers who inspire these students
daily. We are looking forward to outstanding performances from our all-state
ensembles at the 2020 FMEA Professional Development Conference in January. By now, audition results should have been published. Please remember to cancel any hotel rooms you don’t need by November 9 at 5 pm. On November 12, you will be charged for the first night of each room held. Conference preregistration
closes at 11:59 pm on December 6. The all-state orchestra coordinators will mail music in December before the winter break. Please anticipate its arrival at your school for each of your all-state students.
Wishing you all the best as we continue to inspire our future.
38 F l o r i d a
Music Director
Later, Congress solidified Thanks-
giving Day as the fourth Thursday in November (rather than the last), and we often refer to the time during that fourth
week as Thanksgiving Break, but how much thanks do you typically give? This year, I
challenge you to consider who, what, and where you are. It is likely you did not
reach this point in your story without a little help. This November, between
watching big football rivalries and finishing your orchestration projects, choose
to be thankful. Send a note of thanks to some of the folks who guided your steps
and enabled you to be who, what, and where you are today. Kiss your spouse!
Hug your mom. Send a message of gratitude to your sixth-grade music teacher (thanks, Dr. Barber!) or your high school
band director (you continue to inspire me, Dr. Logan). Choosing to give thanks
will bring joy to you and to them. Try it. You’ll thank me later.
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Ernesta Chicklowski, President
G
reetings! It’s the most wonderful
time of the year, and also the bus-
iest! Between all of the hustle and bustle of rehearsals, programs, and concerts at your school, take a moment to breathe, reflect, and remind yourself of the amaz-
ing joy you bring to the lives of all of your students. Our
annual
FMEA
Professional
Development Conference is just around
the corner. Now is the perfect time to remind your school administrators of
your and your students’ participation in this dynamic and meaningful education conference. The FMEA conference provides wonderful opportunities
to enhance and further music skills, to
Rene Boyer-Alexander (sponsored by
there are too many good sessions hap-
exhibit hall, and to be enveloped with the
of Cincinnati’s College Conservatory
clinicians will be scheduled in repeat
reconnect with old friends, to shop the
sounds of incredible music swelling from
each workshop room or concert hall. This conference leaves our members feeling revitalized and recharged from spending
memorable time with colleagues who share their love and passion for teaching music in our Florida schools.
We are delighted to have world-class
clinicians at the 2020 conference. The innovative and energetic music educator
Matthew Stensrud (sponsored by West Music) will be joining us from Sidwell
Friends Lower School in Washington, D.C., with these powerful and engaging sessions: “Improvise Now! Using Playful Improvisation to Prepare Students for
Meaningful Notation,” “Dust them Off! Breathing Life Into Forgotten Resources,” and “Teaching Without Words: Exploring Innovative
Teaching
in
Elementary
Music.” Esteemed music educator Dr.
pening at the same time. Many of our
Peripole) will join us from the University
sessions throughout the conference.
of Music as one of FEMEA’s conference
Sandy Lantz and Gretchen Wahlberg will
headliners. Known nationally and inter-
lead an evening session, “Black Light
nationally for her work in multicultural
Thursday,” following the FEMEA Annual
and urban music education, her 2020
Business Meeting on Thursday. Come
conference sessions will be “Sigamé
sing, play, and dance with your friends in
Mis Amigos/Follow Me My Friends,”
the amazing black light! Participants will
“Hook, Line, and Sinker: The Power of
learn pieces involving drumming, danc-
Rhythm and Rhyme in the Classroom,”
ing with props, and performing body
and “Jazz Beginnings in the General
percussion. (Wear dark clothing to max-
Music Classroom.” Cutting-edge multi-
imize the black light effect.)
cultural, Orff, and choral sessions will be
In addition to our outstanding clini-
presented by headliners Karen Howard
and Roger Sams (sponsored by Music Is
cians from far and wide, remember that
educators will present sessions titled
rehearsals for the All-State Elementary
your registration badge gets you into the
Elementary). These distinguished music
Chorus and the All-State Orff Ensemble,
“World Music Pedagogy in Elementary
the exhibit hall, and the Curriculum Fair.
School,” “Collecting and Arranging Folk
This year’s conference will be outstand-
Songs for Children,” and “Is It Orff or
ing. Your FEMEA Board of Directors and
Choir?”
I look forward to seeing you soon in
A common post-conference comment/
Tampa!
complaint we receive every year is that
MUSIC EDUCATION JOB BANK! flmusiced.org/FLmusicApps/JobBank
November 2019
39
CommitteeReports I
AWARDS COMMITTEE
Debbie Fahmie, Chairwoman
want to take this opportunity to thank
quality music education happening in a
ing each and every list of achievements
a nomination packet for the 2020 FMEA
inators, thanks for your participation in
nomination packet, ultimately making
everyone who took the time to submit
Awards Program. I am always so inspired by learning more about the fab-
variety of demographic settings. So, nomthe process this year, and if your nominee wasn’t selected, please consider resubmitting for next year.
ulous things happening throughout our state. the nominators put
ty to thank the ded-
having sample appli-
icated
cations posted on the
guide. We received appli-
rural districts. The selection committee was impressed by seeing evidence of
of
folks who are doing remarkable jobs of recruiting and retaining students in their high-quality music programs, as well as
those who have contributed their entire careers to music education.
In my next article, you will have the
opportunity to read about all of the 2020
one nominee from each category. Trust
be just as inspired as I am by them. Until
me when I say it was no small job. The committee did due diligence in review-
Music Director
Education Service Award applications.
Committee, who had the
daunting job of selecting just
cations representing all areas
of the state, from large districts to small
members
the Awards Selection
website was helpful as a
40 F l o r i d a
I always enjoy getting to meet so many
seize the opportuni-
process. I hope that
Next up we will be reviewing the
would love to celeI also want to
into the application
awardee in each category.
Music Enrollment Award and Music
brate.
much time and effort
the tough decision of selecting just one
We certainly have many
worthy individuals we
It was obvious that
and letter of support presented in each
awardees, so stay tuned. I know you will then, enjoy this fall season, and I look forward to seeing you in Tampa!
STUDENT DEVELOPMENT COMMITTEE
MULTICULTURAL NETWORK Bernard Hendricks, Chairman
I
t’s November! Time sure does fly by when you are having fun. Now
Michael Antmann, EdD, Chairman
T
he Florida Music Education Association offers two programs to make our con-
ference accessible to students who may not have an opportunity to attend as an
all-state student: the Student Conference Experience and the new Tri-M Conference
that your year is in full swing and
Experience.
concerts, let me take a quick moment
annual conference to students from throughout the state. Participating students will
Network news. Dr. Chandler Wilson
performing groups. These students will have memorable experiences they can take
he has since accepted a new position
on Thursday and Friday of the 2020 FMEA Professional Development Conference.
as chairman until our January busi-
engage in networking and social activities with
the MCN will elect a new chairman
The purpose of the FMEA Tri-M Conference
you are probably preparing for winter
The purpose of the FMEA Student Conference Experience is to expand access to the
to catch everyone up on Multicultural
interact with amazing clinicians and educators, college representatives, and incredible
was elected to serve as chairman, but
back and share with their high school music programs. The program will take place
out of state. So I was asked to remain
Students will participate in workshops, observe rehearsals, attend College Night, and
ness meeting in Tampa, during which
their peers.
who will take office in May. Speaking
Experience is to provide students with experienc-
encourage everyone to attend. We all
skills, as well as to expose them to the experiences
ting there, but the benefits of attending
of the Student Conference Experience. This year, Tri-M students must preregister for
of the Tampa conference, I want to
es that will build their leadership and advocacy
have some type of challenges with get-
available at the annual conference. Tri-M participants will be involved with portions
far outweigh the obstacles.
the conference and should follow the Tri-M student schedule. Both programs require
As you plan for your winter perfor-
mances, don’t forget to explore music
chaperones to be present at all times.
One teacher per school may nominate students for these programs, and schools can
of various cultures, especially those
only submit students for one of these programs. Details, including requirements and
allows for student ownership in our
questions.
represented in your classrooms. This
deadlines, can be found on the FMEA website. Please feel free to contact me with any
programs as well as diversity in music
literature and cultural experiences. It is also a great opportunity to invite community leaders, partners, as well as elected officials to your winter pro-
ductions. Elected officials typically love the opportunity to be seen in
their districts interacting with their constituents; however, they can’t do
that if they don’t know what’s going
on. Send them an invitation and see what happens. Another great tool is
having your parents contact elected
officials to let them know the impor-
tance and value that music education plays in their community. More advo-
cacy information is available on the FMEA website.
Have a great fall, and I hope to see
everyone in Tampa come January.
Elementary, Middle, and High School Band, Choir, and Orchestra 2020: April 3 April 17 April 24
2021: April 9 April 16 April 23
2022: April 8 April 22 May 6
www.SMMFestival.com or call:1-855-766-3008
November 2019
41
CommitteeReports
DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman
Addressing Social Justice in Music Education:
RESOURCES FOR MUSIC EDUCATORS
F
or this month’s column, I would
and instructional personnel to
have found timely and useful to
undoubtedly daunting. Where
all students. The challenge is
like to share four resources I
to start? Recognition of and con-
my teaching and ponderings about
cern for the needs of students
education today. These resources
who lack an appropriate music
are four recently published books
education is a starting point.
about social justice in music educa-
Being informed and advocating
tion. They are both authored texts
for all students takes us another
and edited books with chapter con-
tributions from some of our finest
step forward to meeting this
thought leaders in music education. As an
financial and human resources equitably.
challenge. Unfortunately, most of us live
term social justice and what it means in
who attend schools in neighborhoods
of those who are most like ourselves.
introduction, I will attempt to define the society and education, and then give the reference information for the texts as well as a brief overview of each one. What is social justice?
Social justice is a term used often in contemporary discourse. As a societal construct, social justice is the concept of fair
and just relations between individuals
and society. Because the term is vague and broad, evaluating the extent to which a society is just is difficult; though it is gen-
erally measured by the equitable distribu-
tion of opportunities and privileges. The
Unfortunately, we know that students
with low tax bases do not have the tech-
nology, books, or other artistic and academic resources that create a well-round-
ed education, while students in high tax areas have the latest academic resources,
technologies, and counselors and other
personnel to help them succeed in school
and life. Bringing about change is not easy and is a constant challenge for those who care about the education of all our future
citizens. Addressing the challenge means
first understanding the challenge, partic-
ularly as it applies to our own disciplines.
application of social justice in education
Social justice in music education
Social justice in education is a multifacet-
education implies more than just recog-
takes on a somewhat different meaning. ed endeavor involving the negotiation of conflicting values and interests, political action, and concern for all students, especially those who have been marginalized
or oppressed (Benedict, Schmidt, Spruce, & Woodford, 2016).
Social justice is also about distributing
42 F l o r i d a
The pursuit of social justice in music nition of differences and allowing for
greater diversity and inclusivity in the classroom (Benedict, Schmidt, Spruce, & Woodford, 2016). Like all education, the music education profession must
grapple with the challenge of providing equitable music offerings, resources,
Music Director
in silos. We are familiar with the lives Unless we make a conscious effort, we are generally unfamiliar with how others live their lives. At least initially, becoming familiar with and understanding the
lived experiences and circumstances of students whose personal and educational conditions are far different from ours and our students will help us the most
in meeting the challenge of social justice in music education. I believe these four texts will help any music educator better
understand the issues involved in educa-
tional social justice. The viewpoints and
perspectives of the various authors will likely challenge any reader to consider his or her own thoughts and opinions about
social justice in music education today. I welcome discussion of the texts from
FMD readers or music educators as well as recommendations of other useful texts on social justice in music education.
The following summaries of these texts
were written by the authors and are taken from the publishers’ webpages.
Benedict, C., Schmidt, P., Spruce, G. & Woodford, P. (Eds.) (2016).
The Oxford handbook on social justice in music education. New York: Oxford University Press. The Oxford Handbook of Social Justice in Music Education provides a comprehensive overview
and scholarly analyses of the major themes and issues relating to social justice in musical and educational practice worldwide. The first section of the handbook conceptualizes social justice
while framing its pursuit within broader contexts and concerns. Authors in the succeeding sections of the handbook fill out what social justice entails for music teaching and learning in the home, school, university, and wider community as they grapple with cycles of injustice that might be perpetuated by music pedagogy. The concluding section of the handbook offers
specific practical examples of social justice in action through a variety of educational and social projects and pedagogical practices that will inspire and guide those wishing to confront
and attempt to ameliorate musical or other inequity and injustice. Consisting of 42 chapters by
authors from across the globe, the handbook will be of interest to anyone who wishes to better understand what social justice is and why its pursuit in and through music education matters. Talbot, B. C. (Ed.). (2018).
Marginalized voices in music education. New York: Routledge Publishers. Marginalized Voices in Music Education explores the American culture of music teachers by looking at marginalization and privilege in music education as a means to critique prevail-
ing assumptions and paradigms. In 15 contributed essays, authors set out to expand notions
of who we believe we are as music educators—and who we want to become. This book is a collection of perspectives by some of the leading and emerging thinkers in the profession and identifies cases of individuals or groups who had experienced marginalization. It shares the diverse stories in a struggle for inclusion, with the goal to begin or expand conversation in undergraduate and graduate courses in music teacher education. Through the telling of these
stories, authors hope to recast music education as fertile ground for transformation, experimentation, and renewal.
Lind, V. R., & McKoy, C. (2016).
Culturally responsive teaching in music education: From understanding to application. New York: Routledge Publishers. Culturally Responsive Teaching in Music Education presents teaching methods that are responsive to how different culturally specific knowledge bases impact learning. It is a pedagogy that
recognizes the importance of including students’ cultural references in all aspects of learning.
Designed to be a supplementary resource for teachers of undergraduate and graduate music education courses, the book provides examples in the context of music education, with theories presented in Section I and a review of teaching applications in Section II. Culturally Responsive
Teaching in Music Education is an effort to answer the question: How can I teach music to my
«« Offering theoretical/philosophical frameworks of social justice; «« Providing practical examples of transferring theory into practice in music education; «« Illustrating culturally responsive pedagogy within the classroom; and «« Demonstrating the connection of culturally responsive teaching to the school and larger
students in a way that is culturally responsive? This book serves several purposes, by:
community.
Continued on page 44
November 2019
43
CommitteeReports DIVERSE LEARNERS COMMITTEE
Continued from page 43 Hess, J. (2019).
Music education for social change: Constructing an activist music education. New York: Routledge Publishers. Music Education for Social Change: Constructing an Activist Music Education develops an activist music education rooted in principles of social justice and anti-oppression. Based on the interviews of 20 activist-musicians across the United States and Canada, the book explores the
common themes, perceptions, and philosophies among them, positioning these activist-musicians as catalysts for change in music education while raising the question: amidst racism
and violence targeted at people who embody difference, how can music education contribute to changing the social climate?
Music has long played a role in activism and resistance. By drawing upon this rich tradition,
educators can position activist music education as part of a long-term response to events, as a crucial initiative to respond to ongoing oppression, and as an opportunity for youth to develop collective, expressive, and critical thinking skills. This emergent activist music education—
like activism pushing toward social change—focuses on bringing people together, expressing
experiences, and identifying (and challenging) oppressions. Grounded in practice with examples integrated throughout the text, Music Education for Social Change is an imperative and urgent consideration of what may be possible through music and music education.
2020 F M E A P rofess i o na l Deve l o p me nt Co nfe re nce
BEexhAibitonr! 44 F l o r i d a
Music Director
R E S E RSVPEO T Y O U RD AY ! TO LEA R N MOR E AT:
DEADLINE
Nov. 15, 2019
FMEA.org/Exhibits
For information specific to the Trade Show Exhibition, please email Exhibit Managers Byron and Bobbie Smith at exhibits@fmeaexhibits.com.
ExecutiveDirector’sNotes
Musical Excellence: Past, Present, & Future
FMEA Executive Director
T
he 2020 FMEA Professional Development Conference, to be held January 8-11 in Tampa, is aptly titled
Kathleen D. Sanz, PhD
Musical Excellence: Past, Present, & Future. Sessions will have a focus on the past, the present, and the future. The mission
The Future
As we approach 2020, we need to look toward the future with foresight. The 20’s decade is being labeled by
of The Florida Music
some as the Tumultuous Twenties, and we as music educators will certainly need foresight for teaching and learning in order to meet the many diverse needs of our students and programs.
Education
Association is to promote quality,
The Past
On September 23-26, 1999, the past president of MENC (now the National Association for Music Education) led Vision 2020, a symposium where music educators gathered in Tallahassee and presented a vision to guide
the future of music education through 20 years. I was fortunate to attend this incredible gathering of the field. The symposium resulted in the Housewright Declaration (named for Wiley Housewright), which included
comprehensive
music education for all Florida students as a
agreements by the field in these 12 areas:
part of their complete
education.
We agree on the following:
1. All persons, regardless of age, cultural heritage, ability, venue, or financial circumstance deserve to participate fully in the best music experiences possible.
2. The integrity of music study must be preserved. Music educators must lead the devel-
IMPORTANT DATES
experience.
FMEA Professional Development Conference & All-State Concerts Musical Excellence: Past, Present, & Future January 8-11, 2020 Tampa, Florida Registration for the conference is open. Be sure to watch the FMEA website to take advantage of this excellent conference in Tampa.
opment of meaningful music instruction and
3. Time must be allotted for formal music study at all levels of instruction such that a comprehensive, sequential, and standards-based program of music instruction is made available.
4. All music has a place in the curriculum. Not
only does the Western art tradition need to be preserved and disseminated, music educators
also need to be aware of other music that people experience and be able to integrate it into classroom music instruction.
5. Music educators need to be proficient and knowledgeable
concerning
technological
changes and advancements and be prepared to use all appropriate tools in advancing music study while recognizing the importance of
people coming together to make and share music.
6. Music educators should involve the music
industry, other agencies, individuals, and
music institutions in improving the quality
NAfME National Conference Amplify 2019: Opening Doors for All Students November 6-10, 2019 Gaylord Palms, Kissimmee, Florida Don’t miss this opportunity to attend this national conference right in our own backyard! NAfME All-National Honor Ensembles November 7-10, 2019 Gaylord Palms, Kissimmee, Florida FMEA is pleased to announce that Florida has 42 students in the All-National Honor Ensembles. Come listen to our Florida students as they perform with students from around the nation. Government Relations and Advocacy Mark your calendars for the 2020 Florida Legislative Session, which begins on January 14 and ends on March 13. Please be prepared to take action and advocate for your music students. Be sure to read Government Relations Chairwoman Jeanne Reynolds’ article in each edition of FMD.
Continued on page 46
November 2019
45
Advertiser Index The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. ADVERTISERS Alfred Music Publishing Co., Inc.................................................................. 37 Florida Atlantic University....................................................................... IFC Florida Gulf Coast University..................................................................... 35 Florida State University.................................................................................. 7 Illiac Software.................................................................................................. 40 Smoky Mountain Music Festival.................................................................. 41 Stanton’s Sheet Music....................................................................................... 9 University of Florida..................................................................................... 34 Yamaha Corporation of America............................................................... BC
Advertisers shown in bold provide additional support to FMEA members through their membership in the Corporate and Academic Partners program. These advertisers deserve your special recognition and attention.
EDnotes Continued from page 45
and quantity of music instruction. This should start within each local community by defining the appropriate role of these resources in teaching and learning.
7. The currently defined role of the music educator will expand as settings for music instruction proliferate. Professional music educators must provide a leadership role in coordinating music
activities beyond the school setting to ensure formal and informal curricular integration.
8. Recruiting prospective music teachers is a responsibility of
many, including music educators. Potential teachers need to be drawn from diverse backgrounds, identified early, led to devel-
op both teaching and musical abilities, and sustained through ongoing professional development. Also, alternative licensing
should be explored in order to expand the number and variety of teachers available to those seeking music instruction.
9. Continuing research addressing all aspects of music activity
needs to be supported including intellectual, emotional, and
physical responses to music. Ancillary social results of music study also need exploration as well as specific studies to increase meaningful music listening.
10. Music making is an essential way in which learners come to know and understand music and music traditions. Music making should be broadly interpreted to be performing, composing, SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax. CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office. SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, dgspringer@fsu.edu.
All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. 2019-20 FMEA Membership: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.
46 F l o r i d a
Music Director
improvising, listening, and interpreting music notation.
11. Music educators must join with others in providing opportuni-
ties for meaningful music instruction for all people beginning at the earliest possible age and continuing throughout life.
12. Music educators must identify the barriers that impede the full actualization of any of the above and work to overcome them.
The Present
Turning to the present, we realize we are quickly approaching 2020. FMEA will review the documents developed at the 1999
symposium to help lead us into the future with knowledge based
on the past and with foresight into the future. The 2020 FMEA Professional Development Conference will have sessions devoted to moving Florida programs forward. We look forward to having
you as part of these important discussions, so please plan to attend. Let’s continue to work toward the FMEA mission of promoting
quality, comprehensive music education in all Florida schools. Musically yours,
Kathleen D. Sanz, PhD
�
F LO R I DA M U S I C E D U C AT I O N A SSO C I AT I O N
Officers and Directors
EXECUTIVE BOARD President
Steven N. Kelly, PhD
Florida State University; College of Music, KMU 330 Tallahassee, FL 32306 (850) 644-4069; skelly@admin.fsu.edu Past President
Kenneth Williams, PhD
Douglas Anderson School of the Arts 2445 San Diego Road; Jacksonville, FL 32207 (904) 346-5620; kenwms@flmusiced.org President-Elect
Shelby Chipman, PhD
Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu FBA President
Cathi Leibinger
Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org FCMEA President
Stacie Rossow, DMA
Florida Atlantic University Schmidt College of Arts and Letters 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu
Historian/Parliamentarian & Executive Director....................................................Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org
Florida NAfME Collegiate Advisor
Mark A. Belfast, Jr., PhD
Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FMSA President
Harry “Skip” Pardee
Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com FOA President
Matthew Davis
Harrison School for the Arts 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com FVA President
Jason Locker
Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Member-at-Large
Edgar Rubio
Silver Trail Middle School 18300 Sheridan St.; Pembroke Pines, FL 33331 (754) 323-4321; merenguesax@aol.com
FLORIDA NAfME COLLEGIATE President............................................................ Katherine Attong-Mendes University of Miami; kxa395@miami.edu Past President...............................................................Jennifer Luechauer jennifer.luechauer@browardschools.com
FMEA COMMITTEE CHAIRPERSONS
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com
President..................................................................... Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us
Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; skelly@admin.fsu.edu Committee Council...................................................................................TBA
Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org
Conference Chairman................................................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com
Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com
Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu
FLORIDA MUSIC SUPERVISION ASSOCIATION President.....................................................................Harry “Skip” Pardee Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com
Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu
Past President............................................................................Scott Evans scott.evans@ocps.net
Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@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
University of Miami; kxa395@miami.edu
President...................................................................... Stacie Rossow, DMA Florida Atlantic University; Schmidt College of Arts and Letters 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu
FSMA President................................................................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu
Roosevelt Elementary School 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090 ernesta.chicklowski@sdhc.k12.fl.us
Katherine Attong-Mendes
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu
FMEA Corporate & Academic Partners....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com
Florida NAfME Collegiate President
Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
EX-OFFICIO MEMBERS
FEMEA President
Ernesta Chicklowski
�
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................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us
Multicultural Network...................................................Bernard Hendricks Ocoee High School, 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net
Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com
Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net
FLORIDA VOCAL ASSOCIATION
Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu
President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net
Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Past President.....................................................................Tommy Jomisko tommy@fva.net
Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net
PROFESSIONAL DEVELOPMENT CONFERENCE
Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net
Exhibits Managers................................................ Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606; fmeaexhibits@fmea.org
CENTER FOR FINE ARTS EDUCATION
402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793
Local Co-Chairpersons Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us Melanie Faulkner—(813) 272-4461; melanie.faulkner@sdhc.k12.fl.us Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602
Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations........................Valeria Anderson, IOM (val@fmea.org) Director of Finance & Client Relations...............................Richard Brown, CAE (richard@fmea.org)
FLORIDA BANDMASTERS ASSOCIATION President.............................................................................. Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org
Technology Director......................................Josh Bula, PhD (josh@fmea.org)
Past President........................................................................Jason Duckett Bartram Trail High School; 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.org
Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)
Public Affairs & Communications Coordinator..............................................Jenny Abdelnour (jenny@fmea.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
November 2019
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48 F l o r i d a
Music Director