Florida Music Director - November 2023 by Center for Fine Arts Education, Inc

Building Resilience in New Music Teachers PLUS: Music-Evoked Autobiographical Memories Cutting Edge Music Classrooms Are Built on Improvisation

MUSIC EDUCATION

2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

PRELUDE TO THE 2024 CONFERENCE November 2023

PUT YOUR

PASSION INTO PRACTICE

Audition Dates 01.27.2024 02.02.2024 (Graduate Only)

02.03.2024 02.16.2024 (Graduate Voice & Piano only)

02.24.2024

2 F l o r i d a M u s i c D i r e c t o r

APPLY TODAY

MUSIC.UNT.EDU UNIVERSITY OF NORTH TEXAS COLLEGE OF MUSIC Serving our diverse musical culture with excellence, integrity and imagination.

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

Hinckley Center for Fine Arts Education

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

Contents November 2023 Volume 77 • Number 4

Editor-in-Chief

Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd. Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.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 (jeannewrey@gmail.com)

F E AT U R E

Building Resilience in New Music Teachers.. . . . . . . . . . . . . . . . . . . 26 D E PA R T M E N T S

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

Advertiser Index. . . . . . . . . . . . . 4

Academic Partners. . . . . . . . . . .

Advertising Sales

President’s Message. . . . . . . . . . . 5

Corporate Partners. . . . . . . . . 40-41

Advocacy Report. . . . . . . . . . . . . 7

Committee Reports. . . . . . . . . .

2023-2024 FMEA Donors. . . . . . 24

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

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

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

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

Official FMEA and FMD Photographers

Bob O’Lary Amanda Crawford

39 42 47

Component News.. . . . . . . . . . . 34

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

MUSIC EDUCATION

CONFERENCE Prelude. . . . . . . . . . . . . . . . . . . 8 Important Dates. . . . . . . . . . . . . 9 Registration.. . . . . . . . . . . . . . 10

2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Pre-Conference. . . . . . . . . . . . . 18

Policies. . . . . . . . . . . . . . . . . . 12

Session Attendance Verification Report.. . . . . . . . . . 19

All-State Concerts. . . . . . . . . . . 14

All-State Rehearsals. . . . . . . . . . 20

Conference Hotels. . . . . . . . . . . 16

Student Experiences. . . . . . . . . . 23 November 2023

Advertiser Index 2023-24 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. 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: The circulation of the Florida Music Director is 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office. SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Kelly Miller, DMA, kelly.miller@ucf.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.

The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. ADVERTISERS

University of North Texas................................ IFC University of Florida..........................................13 Florida International University.......................4

Florida State University................................... BC The advertisers in BOLD provide additional support to FMEA members through membership in the Florida Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention.

Our school is a reflection of where we live – diverse, vibrant Miami! Here, you will receive conservatory-style training at an affordable public research university, guided by award-winning faculty in the heart of it all! Fully accredited. An All-Steinway School.

10910 SW 17th St., Miami, FL 33199 | music@fiu.edu | @fiumusic | music.fiu.edu

4 F l o r i d a M u s i c D i r e c t o r

President’sMessage

Jason P. Locker President Florida Music Education Association

Music Education Begins with ME!

MEntal Health

ow are you doing today?

It’s a question we hear numerous

times each day. If you’re like me, you

al performances on and off campus for

strategies over the years that help me a

December holidays. And almost all music

Over the years, I have adopted sev-

Veteran’s Day, Thanksgiving, and the

great deal.

educators, from elementary schools to

eral daily habits that have had a posi-

concert on their campus.

encourage you to consider trying one or

Have you checked in with your body,

but the pressure to perform well and get

ing with quiet time on the couch with

Being a music educator is a full-time

crippling! This is true for seasoned vet-

typically respond with something like “fine” or “well” or “good” automatically, without giving that response very much

thought. But are you really doing well? mind, and spirit?

job (and then some)! There are lessons to teach, grades to record, parents and administrators that require regular communication, and then there is a seemingly

unending list of events that need plan-

ning. Rehearsals, performances, fundrais-

ers, field trips, community service events, and more! On any given day, you may

have to prepare sound/lights/programs for an upcoming concert, help students

get ready for auditions, answer parent emails, submit field trip paperwork, write

a student’s recommendation letter, cover a class while your colleague is off cam-

pus … and I forget to mention that your

evaluating administrator will be in your classroom shortly to conduct an observation! Sound familiar?

universities, are preparing for a winter We don’t often speak openly about it,

it all “right” can be enormous and even erans of the classroom and concert stage, let alone for our newest colleagues, who want to feel successful and crave acceptance from their professional commu-

nity. What will people think of me and

my program if I don’t have any students make all-state? If my marching band doesn’t get a superior or win the compe-

tition? If my choir isn’t accepted to sing in the Disney Candlelight Processional? If

we haven’t prepared “enough” music for our winter concert? If someone doesn’t

think we performed well and posts about it on social media? These thoughts and fears can have an incredibly negative

impact on the music educator’s MEntal Health!

I have thought all of those thoughts and

The second quarter of the academic

felt all of those feelings during my career,

All-state audition results are released,

honest would have to admit the same. I

year is full of activity for music educators. and we begin planning for our annu-

al pilgrimage to Tampa for the FMEA

Professional Development Conference in

January. Football games are ongoing (into postseason for some), along with marching MPAs and other competitions for

our high school band colleagues. High school seniors are applying for colleges,

and aspiring music majors are preparing

for their auditions. There are so many opportunities for field trips and season-

and I think that anyone who is being truly

tive impact on my MEntal Health, and I

more of them yourself. I begin each morn-

my dog, who loves me unconditionally. I read, meditate, focus on my breathing, do

some stretches, drink a cup of coffee, and center myself for the day ahead. This can

be as brief as five minutes if I’m in a rush,

or 30 to 60 minutes if I have time. But I always take whatever time is available to start my day in a positive direction. I can’t

emphasize enough how much this helps

me when I encounter stressful events or negative energy later in the day. I also

try to end each day with some type of

positive thought or memory from my day (just like ending a class or rehearsal on a

“high” note of success for your students) and go to bed early enough to get sufficient rest for the next day. These strategies

will not solve all of life’s problems, but they can help immensely with how you

process and respond to stress, worry, and negativity from situations and people.

So … How are you doing today? Ignore

don’t remember exactly when it was, but

the noise of the world around you and

“why” was to positively impact students,

trash” that causes self-doubt in our own

the moment I had the realization that my families, and the community through

music, and that ratings, scores, awards,

and accolades were not the objective or

what I have come to refer to as the “head minds. Take a deep breath, reflect on your “why,” and you will have the answer.

true measure of my success was a true

game-changer for me. I am only human, and even now I sometimes experience worry and doubt (imposter phenomenon

is a very real thing), but I have adopted

Jason P. Locker, President

Florida Music Education Association November 2023

AdvocacyReport Jeanne W. Reynolds

Chairperson Advocacy Committee

Music-Evoked Autobiographical Memories by Anne Fennell, California Music Educators Association President

This month, it is my honor to turn my

column over to my friend and colleague, California Music Educators Association President Anne Fennell. Advocacy is as

much about telling compelling stories as it is about sharing quantitative data.

As Maya Angelou stated and Dr. Chipman often reminded us,

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

Never doubt the power of music to make people feel. As you read Anne’s article,

reflect on the music in your life that evokes memories. And celebrate the work you do each day creating memories for your stu-

dents.

hese words—“music-evoked autobiographical memories”—yes, they

mean exactly what they suggest. Music-evoked autobiographical mem-

ories are those made by a moment in a person’s life and evoked by music.

We’ve known for years that music assists in storing and recalling our memories, so, when I came across this term a few weeks ago, my immediate reac-

tion was, “Of course! We know that.” As I reflected on the phrase, I quickly began to recall some of my favorite pieces and with those pieces came a deluge of memories and emotions that defined moments in my life.

I found myself smiling, scrolling through my music, and playing a few

of my favorite pieces, as I revisited the music and people I had shared them with—as if it were just yesterday. Some were from over 40 years ago, and

others from more recent times. As the melodies played, I could vividly remember the exact location, the weather, the surroundings, the lighting, the

company I was with, and the precise emotions I felt. It was a sound-guided time travel at its finest.

As I lost myself in the music and memories, I realized many of these

moments were deeply rooted in my music education and tied to a commu-

nity. It’s the kind of music that creates an unspoken bond, letting us know we shared that particular moment with others and that it meant something

personal and profound. These moments have shaped me, driven my passion for music, and instilled a desire to experience that sense of musical community repeatedly.

I urge you to take a moment to reflect on your cherished musical mem-

Jeanne W. Reynolds

ories. Revel in these moments (and the tunes!), for they have unforgettable

moments in your heart and mind and are unparalleled by anything else.

w Earth, Wind, and Fire’s “All ‘N All” album. The entire album. I was a Here are just a few of the memories that bring me immense joy:

junior counselor at a music camp in the Rocky Mountains of Colorado the

summer after its release, and we played that album every single day. It still brings me feelings of freedom and memories of working in the kitchen, laughing with my friends, the crisp mountain air, and running flute

sectionals. Both “Fantasy” and “September” became my anthems that “President’s Message” by Ann Fennell, CMEA President, reprinted from CMEA Magazine, Fall Issue 2023.

summer and every time I hear those songs I am in Grand Lake, Colorado,

w The Eagles’ “Lyin Eyes.” I was in the 8th grade, standing on the 40-yard as if it were yesterday.

line of Littleton High School’s football field in Littleton, Colorado. I was playing my piccolo at a football game for the first time, and with each

note I played I was almost overwhelmed with the moment and the music.

I saw the audience from the field, the cold mist of my breath in the fall Florida Music Director

w Tool’s “Forty Six & 2.” My high school ensemble adored Tool,

and this piece, and watching them master the meter changes

flawlessly was so much fun! They seemed to transcend the piece to become one with the music, and together we felt fierce and indomitable as we effortlessly moved between 4/4

air, and I remember that as 8th graders we felt like the most

and 7/8. Their unspoken bond was evident when the piece

playing with the high school band! When we arrived at the

knew we had become a united ensemble, like no other.

important people in the world because, after all, we were

chorus section of the piece, I could hear the people in the stands start to sing with our music and I was in awe of what

w Carl Orff and Gunild Keetman’s “Street Song,” performed

ended, and when we all broke into high-fives and cheers, I

I have so many more memories, but these jumped out at me,

because each one of these had an emotional and a physical sen-

we were creating.

sation for me. I’m still beaming as I type these words!

by one of my ensembles at the National AOSA Conference

lasting musical memories with your students. That’s it. Share

behind me and at the same time, choosing to block their

when those magical moments happen with your students, take

students. Their bodies swayed with the rhythm and chord

together and the students will be able to find the words for those

every glance we exchanged, there was a sense of pure joy

turn, begin to create their autobiography. Music is powerful and

crowd erupted with a burst of applause at the end, we all

memory intertwines with sound, it becomes a part of our per-

force, as if it levitated us off the stage.

of #makinglifelongmusicalmemories.

The crux of my message? It’s simple. Create and recognize

in Las Vegas, Nevada. I remember feeling the audience right

your past musical memories and what they meant to you. Then,

energy to focus on the music and the beaming faces of my

the time to talk about it. That moment will bring everyone

changes, and the connection to the music was palpable. With

feelings and sounds that are felt in the heart, and these will, in

and the harmonic rhythm patterns filled the hall. When the

forging lifelong memories with music is real, because when a

looked at one another and I could feel our pride as an energy

sonal history that will last forever. So, here’s to a spectacular year November 2023

MUSIC EDUCATION

2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

We can’t wait to see you in Tampa this January! The FMEA Professional Development Conference is one of the largest music

education professional development events in the United States. In addition to

approximately 250 clinic sessions and concerts, it is host to 23 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, Orff, and popular music students conducted by world-class conductors and teachers.

It is attended by more than 10,000 people, including secondary music

directors, elementary music teachers, music supervisors, college students, college music teachers, school administrators, K-12 students performing in the all-

state ensembles, students and professional musicians performing with invited

performing ensembles, exhibitors, and parents and family members of performing students.

So many reasons to participate: An exhibit hall with world-class exhibitors providing products and services for music educators and students

More than 2,800 music teachers and 200 administrators

More than 120 sessions, covering a variety of topics for all music educators, with on-demand access to recordings after the conference

Performances and mini-concerts from some of Florida’s top music programs Networking opportunities, college fair, awards ceremony, and other special events

8 F l o r i d a M u s i c D i r e c t o r

Important Dates (subject to change)

November 11, 2023

Hotel room cancellation deadline 5:00 pm November 13, 2023

Hotels will charge your credit card a nonrefundable deposit for the first night of each room. December 11, 2023

Early registration closes at midnight. You may continue to register online but at the higher regular registration price. December 15, 2023

All school lodging checks are due, payable to the hotel where reservations were made for you and/or your students. December 15, 2023

The final deadline for discounted hotel blocks; unsold rooms in the FMEA blocks are released back to hotels. December 15, 2023

Postmark deadline for checks to be mailed for conference registration; all unpaid registrations must be paid by credit card after this date.

November 2023

R egistration

Registration Fees and Procedures Membership in FMEA and NAfME is a prerequisite for registration. See the Registration Policies for details.

To take advantage of early discounted

rates, you must register and pay before the deadlines.

Note: If you are mailing a check

to the FMEA office to pay for your

registration, it must be postmarked

early enough so that it will ARRIVE in the FMEA office before the preregistration deadline.

10 F l o r i d a M u s i c D i r e c t o r

REGISTRATION FEES Description

September 8 -

After

December 15

Director/Member

$160

$205

Collegiate Member

$70

$100

Retired Member

$30

Non-Teaching Spouse

$105

$155

Non-Teaching Spouse of Retired Member

Paid Chaperone

$75

$125

Free Chaperone

All-State Student

$75

$125

Tri-M Student

$50

$75

Pre-Conference Workshop

$80

$130

Pre-Conference Workshop (First-Year Teacher)

$80

$130

Student Experience – Student

$50

$75

Student Experience – Chaperone

$50

$75

Registration Policies

Refund Policies

1. All participants—directors, students, chaper-

1. Full registration refunds are available for cancellation

ones, 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 chaper-

oned. As required by FMEA and FSMA, at

least one chaperone other than a director is required for every ten (10) students or fraction

thereof; however, FMEA policy allows for one free chaperone for every six (6) students or fraction thereof.

requests made through December 15, 2023.

2. No registration refunds will be made for cancellations made

after December 15, 2023, 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, 2024. Requests received after that date will not be processed.

5. All refunds will be issued after the conference is completed. 6. There are no refunds for concert tickets.

4. An additional paid chaperone may be regis-

tered for (a) each six (6) 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 fur-

nish 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.

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 stu-

dents registered and participating in ses-

sions or working for the all-state concerts are exempt from this rule.)

7. All school music teachers must register for the

conference as FMEA directors and must be current members of the FMEA. This includes

Chaperone Registration

Chaperone registration is based on the following rules:

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

on-site registration for entry into the convention center.

w For every six students registered, one free chaperone and

Middle School and High School Students

one paid chaperone may be registered. No other chaper-

ones may be registered until the seventh student is regis-

w Any additional attendees (chaperones or guests) must purtered.

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

w If you have students in more than one performing ensem-

* EXCEPTIONS

ble, you may pay for a chaperone for each performing

w If you have students from different schools, you may pay ensemble in which you have registered students.

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

directors of invited performing groups,

Chaperones are not allowed to bring other children who are not

state conductors from Florida schools, col-

teachers, and chaperones wearing a conference badge are

mini-concerts, and session presenters. Allleges, or universities must also be FMEA

members. No current music teacher may register as a chaperone.

participating in an all-state ensemble. Only registered students, allowed in and around the rehearsal areas. Directors are

asked to make sure their chaperones are aware of this policy before agreeing to serve as a chaperone.

November 2023

P olicies Photographic Release By attending the conference and/or associated activities,

you grant permission for FMEA to use any and all pho-

tographic imagery and video footage taken of you and your students at this event and activities pertaining to this event, without payment or any other consideration. You understand that such materials may be published

electronically or in print, or used in presentations or exhibitions.

Code of Conduct FMEA is dedicated to providing a positive environment of respect and civility for all attendees, including mem-

bers, students, parents, speakers, clinicians, exhibitors, sponsors, staff, volunteers, and guests. All attendees are asked to follow all applicable laws and conference policies and to refrain from physical and verbal harassment, bullying, disorderly conduct, or any actions

or behaviors that create unsafe conditions or interfere with presentations or performances. Harassment, bullying, and sexual language and imagery are not

appropriate for any conference venue, including clinics,

workshops, concerts, rehearsals, social events, online,

and social media. Violations should be reported to con-

Security Procedures The Florida Music Education Association is working with the Tampa Police Department and Allied

Security at the Tampa Convention Center (TCC) to

enhance the conference experience for the students and attendees.

In order to help keep attendees safe, there will be a heightened security presence throughout the TCC

and at various hotels. All entrances to the TCC will be patrolled by uniformed officers of the Tampa

Police Department and uniformed Allied Security personnel. They will be patrolling the TCC as

well. The Tampa Police Department will be at the

crosswalks between Marriott Tampa Water Street

and the TCC, at concerts, and patrolling some of the downtown hotels during rehearsals.

All attendees (this includes members, exhibitors,

chaperones, and student participants) must wear

their conference badge during the conference once the authorized registrant obtains the conference packet.

vention center security or conference staff in a timely manner. Violators and their registered students may be

expelled from the conference without a refund at the discretion of the FMEA Executive Committee.

Indemnity Clause FMEA reserves the right to change the conference/ workshop content, timing, speakers, or venue without

notice. The event may be postponed or cancelled due to acts of terrorism, war, extreme weather conditions, industrial action, fewer than expected delegates, pan-

demic, or any event beyond the control of FMEA. If such a situation arises, FMEA will endeavor to reschedule the event; however, FMEA cannot be held respon-

sible for any cost, damage, or expenses that may be

incurred by the registrant as a consequence of the event being postponed or cancelled. Some registrants consid-

er travel insurance to cover the cost of the registration,

travel, and expenses for these types of situations. FMEA is not responsible for any registrant’s personal injury (i.e., physical, psychological, or emotional stress)

or property damages while attending an FMEA confer-

ence or event. Conference registrants assume all risks inherent in attending an FMEA conference for which

the registration covers, whether before, during, or after the conference.

Enjoy t he Conference Experience. 12 F l o r i d a M u s i c D i r e c t o r

November 2023

A ll-State Concerts

NEW ONLIN TICKE E PROC T ESS All-State Concert Tickets

Tickets are now sold online for family, friends, and other attendees who are not registered for the conference. Directors will no longer need to pre-order all-

state concert tickets for their students’ family members or

purchase tickets using their smartphones. A desk in the conference registration area on the second floor of the

convention center will be selling paper tickets if you need to purchase tickets with cash or if you do not want to use electronic tickets.

friends who will be attending their concerts. Send them this link instead: https://fmea.org/conference/tickets/.

Tickets will go on sale in September and can be

purchased anytime up until 30 minutes after the start

Concert Re-entry Procedure

to the purchaser and can be printed or stored on their

Once a ticket’s barcode is scanned to gain entry, that tick-

validate a ticket’s authenticity and to gain entrance to

another entry into the concert. Attendees who need to exit

time of the concert. Tickets purchased will be emailed

phone. The barcode will be scanned at the door to the concert.

On site at the conference, the links and QR codes

will be posted on signs in the venue so attendees may

14 F l o r i d a M u s i c D i r e c t o r

et is marked as “used” and will no longer be eligible for and reenter the concert should be prepared to show their ticket and a photo ID to confirm they are the ticket owner to gain re-entry.

All-State Concert 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-

F A Q

state students, registered chaperones, collegiate student

members, retired members, and VIP guests that you entered as part of your conference registration.

2. All non-registered (NON-BADGED) attendees (parents,

family members, guests, etc.) are required to purchase tickets for any all-state concert they wish to attend.

3. There are no “free” or “allotted” tickets. All concert attendees must either wear their conference badge or purchase a ticket.

4. There is no longer a need for directors to pre-purchase any tickets for their students or their families. Instead, they

should direct the student and their family to the online

ticket sales website: https://fmea.org/conference/tickets/.

Any directors who still wish to purchase tickets should take care to correctly enter the names and email addresses of the people who will be using the tickets into the online sales

portal, or transfer the tickets to those who will be using the tickets using their correct name and email address in the online ticket sales portal.

5. Paper tickets will be on sale at the registration desk on site at the conference for attendees who would like to pay by cash

All-State Concert Tickets Do I get free tickets for my students’ family members to attend the concert? No.

Can I get free tickets to any concerts?

No. Registered attendees (directors, chaperones, students) are allowed

admission to concerts with their name

badge so no ticket is necessary. Attendees that are not registered for the conference (parents, family, etc.) must purchase tickets.

or who do not want to use electronic tickets. Paper ticket

Can I buy extra tickets anytime?

and continue Friday and Saturday at the FMEA registration

Electronic tickets will go on sale in

registered attendee be the person purchasing these tickets.

minutes after each concert’s scheduled

electronic tickets will continue to be sold before that concert.

the FMEA registration desk during its

sales for all-state concerts will begin on Thursday morning

Anyone can purchase tickets online.

desk. There is no requirement that the director or any other

September and sales will close 30

If a concert starts after the registration desk is closed, only

start time. Paper tickets will be sold at

6. *All ticket sales are final.* There are no refunds for any

concert tickets. Tickets may be transferred or exchanged using the online ticket sales portal only.

7. For entrance, ticket, and concert purposes, a concert

is defined as the pair or group of ensembles that are

performing in the same venue in a common, defined block of

time. An example of a “concert” for purposes of entrance and ticketing would be the 8:30 a.m. concert that features both

the Treble Chorus and Mixed Chorus or the 1:30 p.m. concert that features the Middle, Concert, and Symphonic Bands.

regular open hours on Thursday through Saturday.

Does my young child need to buy a ticket? Everyone who will be taking up a seat

will need a ticket. Babies that are being

held by a parent or sitting on a parent’s lap for the duration of the concert are

welcome without a ticket, but children who are old enough to sit in their own seat will need a ticket.

November 2023

C onference Hotels

Contracted for 2024 FMEA Professional Development Conference

F A Q

Greetings! It’s the wonderful time of year

when we start planning our very special conference event. The Florida Music Education

Association has contracted the following

Why are the FMEA hotels so expensive?

Tampa hotels for the January 10-13, 2024,

The prices we contract with the hotels are much lower than their standard

telephone your hotel of choice directly or use

Why is it so hard to get a room?

Professional Development Conference. Please

room rates during the same dates (in many cases, less than half).

the reservation link at FMEA.org/Conference/

When the blocks first open, everyone tries to get as many rooms as they

Hotels beginning beginning September 30, 2023, 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 11, 2023, at 5 pm. If your hotel

of choice is sold out, please continue to try to make a reservation until November 11, 2023,

as FMEA attendees will periodically release surplus guest rooms.

can in case they need them after the all-state auditions, so they fill up very fast. If you wait until after the all-state results come out, many people will

have cancelled their rooms and it will be much easier for everyone else to get a reservation.

Why don’t you wait and open the hotel block after all-state audition results are released?

Our hotel partners are not comfortable waiting until we are so close to the start of the conference to start booking room reservations.

A maximum of five (5) guest rooms may be

I tried calling but it was busy or they put me on hold forever.

rooms reserved on November 13, 2023, will

are released. Many people will cancel rooms they no longer need if their

reserved per teacher or parent. Each and all

We recommend trying again in early November after the all-state results

be charged a nonrefundable, one-night fee

students weren’t accepted.

to the responsible credit cardholder. (Invalid credit cards risk reservation cancellation.)

We urge any guest holding surplus reser-

vations/rooms to cancel excess reservation(s)

as soon as possible and no later than 5 pm

on November 11, 2023, and you must secure

a cancellation confirmation number. (This

Is there a cancellation fee?

No, as long as you have cancelled all the rooms you no longer need by the cancellation deadline listed, you will not be charged any type of cancellation fee. After the cancellation deadline, a deposit of one night

per room in your reservation will be charged to your credit card, and that deposit is nonrefundable.

mentary rehearsal and meeting space, you

Someone at the hotel told me that cancelled rooms don’t go back into the FMEA block, and they are sold at full price instead. Is that true?

are using for your group functions.

blocks that are cancelled will go back into the FMEA blocks and can be

courtesy will make surplus rooms available to other guests.) In order to receive complishould book guest rooms in the hotel you

NOTE: FMEA IS NOT offering a housing

bureau service. All participants MUST con-

tact the hotels directly beginning September 30, 2023, at 9 am EDT to 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!

16 F l o r i d a M u s i c D i r e c t o r

Only after December 16. Before that date, all the hotel rooms in the FMEA reserved by other FMEA members at the low FMEA rate.

Can we book hotels online?

We are implementing online booking for the 2024 conference. On

September 30, you can go to FMEA.org/Conference/Hotels to see if

a registration link is available for your hotel of choice. If a link is not available, you must call the hotel directly at the number provided.

FMEA has contracted with several Tampa hotels to provide you with the best rates possible.

We are piloting links to make reservations at select hotels. They will be available at FMEA.org/Conference/Hotels on September 30.

HOTEL

ROOM RATES – Cutoff date: 11/11/23

BARRYMORE HOTEL TAMPA RIVERWALK 111 West Fortune Street, Tampa, FL 33602

Single Double

Triple

Quad

(813) 223-1351, #1 for rez Group Code: FMEA

$160

(813) 229-1100, ext. 1 Group Code: FMEA

$174

(800)362-2779 Group Code: FML

$264

$274

$284

(813) 875-1555, #2 Group Code: FME or FMEA 2024

$206

$216

$226

(813) 368-7764 Group Code: FMEA

$150

(813) 525-9900, ext. 1 Group Code: F24

$202

(800) 445-8667 Group Code: FMEA24

$234

(888) 465-4329 Group Code: FLM

$179

(813) 525-9900, ext. 2 Group Code: FM4

$227

(813) 761-3201 Group Code: FMEA-AC

$235

$255

(800) 228-9290 Group Code: FMEA

$211

$223

Includes comp. internet & self-parking

COURTYARD BY MARRIOTT DOWNTOWN TAMPA 102 East Cass Street, Tampa, FL 33602 Comp. internet; $35 valet only

EMBASSY SUITES DOWNTOWN 513 South Florida Avenue, Tampa, FL 33602 Valet only $25; comp. internet & breakfast

EMBASSY SUITES TAMPA AIRPORT WESTSHORE 555 North Westshore Blvd., Tampa, FL 33609 Comp. internet, self-parking, & breakfast

FOUR POINTS BY SHERATON SUITES TAMPA AIRPORT WESTSHORE 4400 West Cypress Street, Tampa, FL 33607 Includes comp. internet & $10 for one car, $18 for second car, & $100 for bus daily self-parking; comp. shuttle to Tampa airport

HAMPTON INN TAMPA DOWNTOWN CHANNEL DISTRICT 1155 East Kennedy Blvd., Tampa, FL 33602

(up to 5 in room)

(up to 6 in room)

Comp. internet & breakfast; $25 self-parking

HILTON TAMPA DOWNTOWN 211 North Tampa Street, Tampa, FL 33602 $9.99 internet (Comp. for Hilton Honors members); $37 valet

HOLIDAY INN TAMPA WESTSHORE AIRPORT 700 North Westshore Blvd., Tampa, FL 33609 $10 self-parking; $100 for bus parking, comp. internet

HOME 2 SUITES TAMPA DOWNTOWN CHANNEL DISTRICT 1155 East Kennedy Blvd., Tampa, FL 33602 Comp. internet & breakfast; $25 self-parking

HOTEL TAMPA RIVERWALK (formerly Sheraton Tampa Riverwalk) 200 North Ashley Drive, Tampa, FL 33602 Comp. internet; valet $20 day/$36 overnight

TAMPA MARRIOTT WATER STREET HOTEl (formerly Marriott Waterside) 505 Water Street, Tampa, FL 33602 Comp. internet for Marriott Bonvoy members; $40 valet overnight & $25 daytime valet

WESTIN TAMPA WATERSIDE 725 South Harbour Island Blvd., Tampa, FL 33602 Includes comp. internet; $30 valet only parking

(800) 937-8461 Group Code: FMEA NOTE: The attendees will need to say associate

November 2023

PRE-CONFERENCE

Empowering Music Educators in Title I and Rural Schools The 2024 Florida Music Education Pre-Conference is designed for music educators in Title I and Rural School settings. This engaging and informative professional development will offer support to music teachers who teach in these profoundly import-

ant educational settings. We have organized a lineup of inspiring presenters who are experts in their respective fields and have had remarkable success. They will

provide valuable insights, share personal experiences, and offer practical strategies to enhance music education in Title I and Rural Schools. Sessions include: Session 1: You Can’t Fix Everything! Session 2: Strategies for Success Session 3: Resource Round Table Session 4: What’s Next/Celebrating You! Our dynamic presenters include teachers and administrators from thriving Florida

programs in under-resourced settings and a national music education leader.

Sessions will be interactive and collaborative, allowing participants to exchange ideas, learn from one another, and gain inspiration. A dedicated session will pro-

vide information about various resources, tools, and materials that can be utilized to enhance music programs in these educational settings. Our goal is to ensure that

all music educators feel supported, encouraged, and equipped with the necessary knowledge and resources to create successful music programs.

18 F l o r i d a M u s i c D i r e c t o r

N E W

Session Attendance Verification Report Provide proof of the sessions you attended to your administration with Session Attendance Verification Reports! Each of our presenters will be provided a QR code and asked to display it on the last slide of their presentation. Scan that QR code to confirm your attendance and add the session to your Verification Report.

Requirements: Register for the conference, either via preregistration or on site. Make sure you can login to the FMEA website using the web browser on your phone. Use the username and password you chose when you renewed your

membership. If you are from outside of Florida, you should have chosen your username and password when you registered for the conference.

Learn how to scan a QR code with your phone. With iPhones and newer

Androids, you just need to open your camera, point it at the code, and a box will appear for you to click.

FMEA does NOT automatically submit your hours for you. It is up to you to follow the process outlined by your school or school district to apply for the professional development points toward your certificate renewal.

November 2023

A ll-State Rehearsals

Ballroom = BR Meeting Room = MR Tampa Convention Center = TCC Marriott Water Street = MWS

All-State Concert Band

All-State Concert Chorus

All-State Concert Orchestra

RESEATING AUDITIONS Hotel Tampa Riverwalk, Riverwalk BR Thursday..........................................9am-11am

REHEARSALS – MWS, Grand BR Thursday.....................................8am-11:30am Thursday.................................1:30pm-4:30pm Thursday...................................... 6:30pm-9pm Friday.....................................8:30am-11:30am Friday........................................... 1:30pm-4pm

RESEATING AUDITIONS MWS, Florida BR, Salons 5-6 Thursday.....................................8am-11:30am

REHEARSALS Hotel Tampa Riverwalk, Riverwalk BR Thursday........................................... 1pm-5pm Thursday...................................... 7pm-9:30pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm Saturday........................................9am-12noon CONCERT – TCC, BR A Saturday, January 13, 2024................ 2:30pm

CONCERT – TCC, BR A Saturday, January 13, 2024....................11am

REHEARSALS MWS, Florida BR, Salons 5-6 Thursday...................................... 7:30am-8am Thursday...................................... 9am-9:30am Thursday................................9:30am-11:30am Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm CONCERT – TCC, BR A Saturday, January 13, 2024................ 6:30pm

20 F l o r i d a M u s i c D i r e c t o r

All-State Elementary Chorus REHEARSALS – TCC, Room 114 Wednesday....................................12noon-1pm Wednesday........................................ 1pm-6pm Thursday................................7:45am-12:45pm CONCERT – TCC, BR A Thursday, January 11, 2024................ 1:30pm

All-State Elementary Orff Ensemble REHEARSALS – TCC Thursday.....................10am-11am, West Hall A Thursday.................11am-6:20pm, West Hall A Friday........................ 8am-11:30am, Room 114 CONCERT – TCC, BR A Friday, January 12, 2024.......................... 1pm

All-State Middle School Band RESEATING AUDITIONS Hilton Tampa Downtown, Palma Ceia BR Thursday............................................9am-1am

All-State Middle School Orchestra RESEATING AUDITIONS – MWS, MR 8 Thursday..................7:30am-8am, Registration Thursday.....................................8am-11:30am

REHEARSALS Hilton Tampa Downtown, Palma Ceia BR Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday........................................... 2pm-5:30pm Saturday...................................8:30am-12noon

REHEARSALS – MWS, MR 8 Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday............................................... 1pm-5pm Saturday......................................10am-12noon

CONCERT – TCC, BR A Saturday, January 13, 2024................ 2:30pm

CONCERT – TCC, BR A Saturday, January 13, 2024................ 6:30pm

CONCERT – TCC, Room 120 Thursday, January 11, 2024.............. 12:30pm

All-State Middle School Jazz Band

All-State Middle School Treble Chorus

All-State High School Jazz Band

REHEARSALS Westin Tampa Waterside, Conch Room Wednesday................................... 2pm-5:30pm Wednesday........................................ 7pm-9pm Thursday................................8:30am-11:30am Thursday........................................... 1pm-5pm Friday.......................................8:30am-12noon

REHEARSALS – Hilton Tampa Downtown, Bayshore BR 5-7 Thursday................................10:30am-1:15pm Thursday.................................2:45pm-4:45pm Thursday................................. 6:15pm-8:15pm Friday.....................................8:30am-11:15am Friday.................................... 12:45pm-3:15pm

CONCERT – MWS, Grand BR Friday, January 12, 2024.......................... 7pm

CONCERT – TCC, BR A Friday, January 12, 2024.......................... 7pm

CONCERT – MWS, Grand BR Friday, January 12, 2024.......................... 7pm

All-State Middle School Mixed Chorus

All-State Popular Music Collective

All-State Intercollegiate Band REHEARSALS – Barrymore Hotel Tampa Riverwalk, Crown BR Thursday........................................... 8am-5pm Thursday........................................... 6pm-9pm Friday............................................8am-12noon

REHEARSALS – Hilton Tampa Downtown, Bayshore BR 1-3 Thursday.....................................11am-1:30pm Thursday........................................... 3pm-5pm Thursday.................................6:30pm-8:30pm Friday....................................8:45 am-11:30am Friday................................................ 1pm-3pm

REHEARSAL – TCC, Room 403 Wednesday........................................ 8am-9pm

CONCERT – MWS, Grand BR Friday, January 12, 2024..................... 9:15pm

CONCERT – TCC, BR A Friday, January 12, 2024.......................... 7pm

All-State Guitar Ensemble REHEARSALS – MWS & TCC Tuesday (MWS, MR 8)........................ 6pm-9pm Wednesday (MWS, FL BR, Sal. 1-3).8am-12noon Wednesday (MWS, FL BR, Sal. 1-3).... 1pm-5pm Wednesday (MWS, FL BR, Sal. 1-3).... 6pm-9pm Thursday (TCC, Room 120).....8:30am-11:45am

REHEARSALS – TCC, Room 407 Wednesday................................... 2pm-5:30pm Wednesday........................................ 7pm-9pm Thursday................................8:30am-11:30am Thursday........................................... 1pm-5pm Thursday...................................... 7pm-9:30pm Friday.......................................8:30am-12noon

CONCERT – TCC, BR B Thursday, January 11, 2024................ 4:15pm

continued

November 2023

A ll-State Rehearsals

Ballroom = BR continued

Meeting Room = MR Tampa Convention Center = TCC Marriott Water Street = MWS

All-State Reading Chorus REHEARSALS – Embassy Suites Downtown, Gandy MR Thursday.....................................8am-11:30am Thursday.................................1:30pm-4:30pm Thursday...................................... 6:30pm-9pm Friday.....................................8:30am-11:30am Friday........................................... 1:30pm-4pm Friday......................................4:30pm-5:30pm CONCERT – TCC, BR A Saturday, January 13, 2024............... 8:45 am

All-State SSAA Chorus REHEARSALS – Westin Tampa Waterside, Oasis BR Thursday.....................................8am-11:30am Thursday.................................1:30pm-4:30pm Thursday...................................... 6:30pm-9pm Friday.....................................8:30am-11:30am Friday......................................1:30pm-4:30pm CONCERT – TCC, BR A Friday, January 12, 2024.......................... 9pm

All-State Symphonic Band RESEATING AUDITIONS – TCC, Room 122 Thursday................................8:30am-10:30am REHEARSALS – TCC, Room 122 Thursday...............................12:30pm-4:30pm Thursday...................................... 6:30pm-9pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm Saturday........................................9am-12noon CONCERT – TCC, BR A Saturday, January 13, 2024................ 2:30pm

22 F l o r i d a M u s i c D i r e c t o r

All-State Symphonic Orchestra RESEATING AUDITIONS – TCC Thursday, 8am-8:30am, Registration, Room 124 Thursday, 8:30am-11:30am, Rooms 103–107 REHEARSALS – TCC, Room 124 Thursday................................8:30am-11:30am Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm Saturday...........................................9am-11am CONCERT – TCC, BR A Saturday, January 13, 2024................ 6:30pm

All-State TTBB Chorus REHEARSALS – Embassy Suites Downtown, Bayside BR Thursday.....................................8am-11:30am Thursday.................................1:30pm-4:30pm Thursday...................................... 6:30pm-9pm Friday.....................................8:30am-11:30am Friday........................................... 1:30pm-4pm CONCERT – TCC, BR A Saturday, January 13, 2024............... 8:45 am

High School Honors Band RESEATING AUDITIONS – Hotel Tampa Riverwalk, Bayshore BR Thursday..........................................9am-11am

High School Honors Orchestra REHEARSALS – Embassy Suites Downtown, Skyway Room Thursday..................8am-8:30am, Registration Thursday................................8:30am-11:30am Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm Saturday......................................9am-10:30am CONCERT – MWS, Grand BR Saturday, January 13, 2024................ 2:30pm

Middle School Honors Band RESEATING AUDITIONS – Hilton Tampa Downtown, Esplanade Suite Thursday..........................................9am-11am REHEARSALS – Hilton Tampa Downtown, Esplanade Suite Thursday........................................... 1pm-5pm Thursday...................................... 7pm-9:30pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm CONCERT – MWS, Grand BR Saturday, January 13, 2024....................11am

Middle School Honors Orchestra

REHEARSALS – Hotel Tampa Riverwalk, Bayshore BR Thursday........................................... 1pm-5pm Thursday...................................... 7pm-9:30pm Friday.................................... 8:30am-11:30am Friday................................................ 1pm-5pm

REHEARSALS – Hotel Tampa Riverwalk, Riverview Room Thursday..................8am-8:30am, Registration Thursday................................8:30am-11:30am Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm Saturday......................................9am-10:30am

CONCERT – MWS, Grand BR Saturday, January 13, 2024....................11am

CONCERT – MWS, Grand BR Saturday, January 13, 2024................ 2:30pm

S tudent Experiences Student Leadership Session Wednesday, January 10, 2024, 1pm-4:30pm

Presenter: Fran Kick

KICK IT IN and TAKE THE LEAD!

This workshop is designed for all high school student leaders who want to learn, thrive, and

become the best leader for their schools, peers, and themselves. Attendees will participate in

active conversations and team and relationship building activities while also discovering their personal strengths and needs to continue to grow on their leadership journeys. Everyone will be engaged in a culture of inclusivity to see and hear all students while revealing the unique strengths and knowledge of our combined voices and experiences.

FMEA now offers two experiences for high school students who are not participating in an all-state ensemble, the Student Conference Experience and the Tri-M Conference Experience. Read online at: fmea.org/conference/student-experience/comparison/.

Student Conference Experience Includes a special leadership session with

Fran Kick on

Thursday, January 11, 2024, 3pm-4pm The purpose of the Florida Music Education

Association Student Conference Experience

is to expand access to the annual conference to

students from throughout the state. Participating

students will interact with amazing clinicians and educators, college representatives, and incredible performing groups. These students will have

memorable experiences they can take back and

share with their high school music programs. The program will take place on Thursday and Friday of the 2024 FMEA Professional Development

Conference. Students will participate in workshops,

Tri-M Conference Experience The purpose of the Florida Music

Education Association Tri-M Conference Experience is to provide students with

experiences that will build their leadership and advocacy skills, as well as expose

them to the experiences available at the

annual conference. Participating students will interact with amazing clinicians

and educators, college representatives,

and incredible performing groups. These

students will have memorable experiences they can take back and share with their high school music programs.

observe rehearsals, attend College Night, and

engage in networking and social activities with their peers.

November 2023

FLORIDA MUSIC Thank you to all of the donors who have EDUCATION shown their dedication to the improvement ASSOCIATION of music education in Florida by supporting 2023-2024 DONORS our Mission through financial contributions. Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund Music Education Advocacy General Fund

June M. Hinckley Scholarship Professional Development for Members Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2023, through October 11, 2023.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

All County Music Artie Almeida In Honor of my mother, June Audrey Grace, & my niece, Katie Grace Miller Clifford Madsen Russell Robinson

SUSTAINERS $100 – $999

Carlos Abril In Honor of Dr. Joyce Jordan Andre Arrouet In Memory of Dr. James Croft Lucinda Balistreri Virginia Densmore In Honor of Dr. Shelby Chipman Virginia Dickert In Memory of Lindsay Wells, Teri Wester, & Debbie Liles Michael Dye In Honor of Mark & Brenda Scott for their lifetime dedication to Florida vocal music education Rita Hersom In Memory of Billy Bryant, Jr. Sheila King In Memory of John W. King Jason Locker In Memory of June M. Hinckley Kevin Lusk 24 F l o r i d a M u s i c D i r e c t o r

Brenda McGlohon Mitchell In Memory of Dorothy Wells Skinner Carolyn Minear In Memory of Alice Fague John Nista On Behalf of Stanley Dmitrenko David Pletincks In Honor of Alexis & Jonnie Pletincks Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of Dr. William Prince & John “Buck” Jamison Kathleen Sanz In Memory of June Hinckley Fred Schiff J. Mark Scott In Dedication to Dr. Andre Thomas, Dr. Judy Arthur, Dr. Judy Bowers, & Jason Locker

SUSTAINERS continued D. Gregory Springer Harry Spyker In Honor of Fred & Marlene Miller Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot

Richard Uhler David Verdoni Howard Weinstein In Memory of Barry Weinstein Doris Elaine Wells In Memory of Dorothy Wells Skinner

PATRONS $25 – $99 Sandra Adorno Michael Antmann Judy Arthur Gale Baker In Memory of William Bryant, Jr. Garza Baldwin In Memory of Dorothy Wells Skinner David Bayardelle In Honor of Harry Spyker Melanie Brown In Memory of Dorothy Skinner Jamie Bryan Kasia Bugaj Christopher Burns Stanley Butts Greg Carswell On Behalf of all the Florida choral directors who have passed on Jeff Cayer Shelby Chipman In Memory of Herbert Rhodes, Sr. Dayna Cole In Memory of Linda Mann Scott Evans Bradley Franks In Memory of Gary W. Rivenbark

Anna Marie Friars In Memory of Matthew McLaughlin Sandra Geres In Memory of Dorothy Wells Skinner Dakeyan Graham Cynthia Heidel Alexis Hobbs Martha Huntley In Memory of Dorothy Skinner, Safety Harbor, FL Mary Keyloun Cruz In Memory of George Keyloun & Pauline Antaki Cynthia Kohanek Christine Lapka Joseph Luechauer Deborah Mar In Memory of Barbara Kingman Matthew McCutchen In Honor of John Carmichael Kelly Miller Victor Mongillo Daniel Murphy In Memory of Billy Bryant Stephen Nelson Ashley Peek

Justin Plante Edward Prasse Marie Radloff Clinton Randles Melissa Rawls In Honor of Nancy Bartels C. William Renfroe In Memory of James O. Johnston & Herbert Beam William Rose Cheri Sleeper Eddie Steadman Mark Stevens In Honor of Dr. Clifford Madsen Valerie Terry Kathleen Thompson Ellen Turko In Memory of Billy Bryant Elizabeth Weir Sondra Wenninger Collins

Kathleen James Jason Jerald Marsha Kindall-Smith Celeste Laburda In Honor of Eleanora Fagan Pauline Latorre Lu Anne Leone Gerald Madrinan P. L. Malcolm John Marshall Khemya Mitrahina Mary Palmer Mikael Patriarca Hank Phillips

Alexandra Rameau Ian Schwindt John Southall Kelly Southall Ajori Spencer Phil Tempkins In Memory of Susan McCray Lindsey Williams

Anonymous (4) On Behalf of Derek Schaumann’s Birthday

FRIENDS up to $24 Michael Belyea Crystal Berner Beth Ann Delmar Jodie Donahoo Christopher Dunn Debbie Fahmie Thomas Gamache Tina Gill In Memory of Gary Rivenbark James Haggins Angela Hartvigsen William Hazlett Llewellyn Humphrey Arnekua Jackson

Anonymous (11) In Memory of William Bryant, Jr. November 2023

Building Resilience in New Music Teachers

by Andy Dubbert

More and more teachers are leaving the profession for

Community

retention. Teacher attrition was a topic of concern before

of some kind. Whether professional or personal, set-

various reasons, and COVID has left its mark on teacher

The need for a resilient mentality often follows a setback

2020, with records dating back to 2008, when 30% to 50%

backs often feel isolating, which could prevent us from

of teachers left the profession within the first five years

(Lindqvist et al., 2014). Now, 44% of teachers leave the profession within their first five years of teaching (Cineas,

2022). Regardless, how do teachers get past that five-year mark to the point where they don’t feel they are surviving

but instead thriving? How can the first five years function as a time when new teachers build momentum in

the music teacher profession and feel motivation, success, artistry, and happiness? Madsen and Madsen (2021) stated

that motivation is the reward of action, and the first step

to building resilience could be as simple as to act yourself into a new way of thinking. In this article I hope to promote

resilience in young music teachers through suggested behaviors and practices.

26 F l o r i d a M u s i c D i r e c t o r

reaching out to others. When I felt defeated at the end of the day during my student teaching, my mentor teach-

er used to say, “Go home, lick your wounds, and come back tomorrow.” Although I have never forgotten that

directive, a keyword in the previous sentence is mentor. Not everyone has all the correct answers, but we will

never find any support with our heads in the sand. New teachers shouldn’t be afraid to ask questions. Some of the

best solutions I have received often started with, “Well,

I never really figured that one out, but try ___.” If the

great teachers who have been in the profession for their entire lifetime do not think they have the “be all, end all” answer, then why should any teacher expect themselves to know everything?

continued on page 28

November 2023

Building Resilience in New Music Teachers continued from page 26

But who should new teachers ask for support? We all

over every action would just create paranoia, but

don’t know the answer they could probably point us in

tions and accepting responsibility for things that

our school districts; organizations like FBA, FVA, FOA,

where people tell us what is going on before it is

have that first person who comes to mind, and if they the direction of someone who does. There is support in and FEMEA; and the place with the most support I have ever received … the FMEA Professional Development

Conference. We don’t build our teaching community by minding our business; we must be brave and introduce

reflecting on our responses to difficult conversa-

are in our control may promote an environment too late. Regardless of the situation, reflection is critical to learning from our past, and it can be a good tool to promote resilience.

Proactive self-initiated reflection can be a pow-

ourselves to people! We cannot expect Support to knock

erful tool when utilized often. Legendary Florida

ask the right person for support, it will never feel like we

print on the profession, partly due to his per-

on our door and say, “Hey, buddy, need a hug?” When we are a burden or a fool. We can develop resilience when we are unafraid to ask our community for help. Growth Mindset Fueled by Curiosity

Effective teachers can maintain resilience by adopting a mindset that encourages growth by allowing genuine thoughts of curiosity and wonder to guide their development. Curious thoughts such as “How do I get my clari-

nets to sound like that?” or “What classroom management techniques work best for tenor/bass choir?” can influence

classroom practices and procedures. Thoughts rooted in curiosity like “What did I say to make that student feel

that way? Why am I so tired? How do I balance my personal and professional life?” can also influence our social and personal lives. Curiosity can be a highly effective

teacher, particularly when we are faced with unanticipated challenges. However, if we do not frequently practice reflection, we may never realize there is room to grow,

which could prevent us from asking ourselves those curious questions in the first place. Reflection

band director Andrew (Jack) Crew left his foot-

sistence with recording rehearsals. When I would

ask one of my mentors for help, his first question was always Have you recorded your rehearsal? When listening to a recording of a rehearsal or a lesson,

we reflect on performance quality, efficiency/

effectiveness/clarity of instruction, time management/pacing, and so on. The growth mindset

will promote thoughts like How can I explain that quicker? Stop talking and let them play! Is that really

what my voice sounds like? Is that really what my band sounds like? After reviewing a recorded rehearsal, my friend realized they spent 30 minutes of a 50-minute band

rehearsal talking! This is a true story. (OK, fine, it was

me!) Proactive reflection may not prevent setbacks, but it provides us with a tool to consult, reflect, and evaluate our teaching. One of my most valued friends used to say,

“Andy, how do you walk with one foot in your mouth

all the time?” For me, recordings have been critical to

all areas of my teaching, but by reflecting on my com-

munication I have found new ways to express what I am thinking.

The questions that guide our curiosity can often be

Preparation

active. Sometimes an unforeseen setback happens, and

formal and informal settings (Kelly, 2019), which require

helpful, but sometimes they are reactive rather than prowe have no choice but to practice reactionary reflection.

Realistically speaking, the cause of some setbacks may not be our responsibility or fault; however, we are responsible for our reaction to that setback (Manson, 2016). Delivery of a setback is rarely subtle. Sometimes they are

an anonymous letter from a student, an angry email, a

surprise phone call, being summoned by the principal, a social media post, and the list goes on. Constant reflection

28 F l o r i d a M u s i c D i r e c t o r

It is essential to recognize that students learn in both

social and instructional preparation. Instructional prepa-

ration, such as lesson planning, is for the formal education process of structured class time with learning goals and

objectives. Social instruction refers to the informal edu-

cation that happens during conversations, group work,

lunch, or study hall. Both formal and informal settings rely on teachers to have a plan A and a plan B. Teachers

are thought to make more than 1,500 decisions per day

(TeachThought, 2016), but we can limit the decisions per

Informal situations include tricky social settings that

day when preparation is accompanied by a plan B. With

often leave a new teacher improvising. Preparation for

potential outcomes where having a plan B will become

involve planning an agenda for a meeting or rehearsing

experience, our preparation will include anticipating

common, and resilience can be strengthened when teachers don’t have to improvise as often.

New teachers need to have a plan tailored to their

developing teaching style. In a formal setting, the lesson

plan can meet the needs of county/district/state requirements, but they sometimes function more like a tool for documentation and not a template for effective teaching.

The teachers who have the plan in their heads and move seamlessly between tasks are impressive, but not all of

us are gifted with that ability. Give me sticky notes and a legal pad, and I can follow my plan. We need to follow a planning template that fits us and can help us maintain

a good pace. If we are constantly tired after rehearsals or lessons, it’s time to evaluate the plan by checking for

preparation of materials, transitions, scaffolding, and pacing. Lastly, if a concept is not being understood by the students, avoid getting bogged down and revisit it with a

fresh perspective. When we revisit a concept, we demon-

strate perseverance to ourselves and to our students, and we often return to it with more resilience.

difficult conversations with students and parents could your lines to handle unexpected or challenging situations. An example of a prepared line for a phone call with a frus-

trated parent could be, “I understand; thank you for your feedback,” or for a frustrated/upset student, “What am I misunderstanding about what you are saying?” When

calling about a disciplinary issue, I have found success with the line, “I’m having trouble communicating with

your student. Can you help me navigate this situation?”

Regardless of a positive or negative interaction, always

recognize the student’s value and keep the conversation

moving forward. If the conversation becomes negative,

stop and schedule a future in-person meeting with an administrator by saying something like “I don’t think we are on the same page. I’m going to reach out for some

help so we can do what’s best for your student.” Both eye

contact and body language are essential during a conver-

sation, but both are impossible over the phone or—even worse—email. It’s nice to have the record of an emailed

conversation for later reference, but we can always send continued on page 30

November 2023

Building Resilience in New Music Teachers continued from page 29

a follow-up email to the parent to confirm what was

year students. A realistic point of view might mean that

maintain a resilient attitude when prepared to respond in

can continue to be resilient by being patient and letting

discussed and to include the plan of action. Teachers can formal and informal learning environments. Build Relationships With Boundaries

those four years could look like seven to eight years. We time be an educator, but a consistent nudge to our students can keep us from becoming apathetic.

New teachers must be patient with themselves as they

As musicians, we are aware of our emotional capacities,

(like all of us) are humans who make mistakes and wrong

boundaries with parents, students, and colleagues. To

deliberate decisions, but the difference between the two

but sometimes teachers fail to set appropriate and healthy

maintain a resilient mindset, teachers must establish their

own boundaries and consistently enforce them. An example of establishing a boundary with a student could be “If you need to talk, I’m here. But remember, I’m a member

of your team with your guidance counselor and adminis-

trator, and when you share things with me, I must be able to discuss those things with the other members of your

team.” We care about the well-being of our students, but

documenting/reporting sensitive conversations with the

student’s administrator and guidance counselor protects the teacher and the student. When our students know that

we don’t keep secrets on their behalf, we protect ourselves in an educational world where the line between account-

ability and fault can be confused and misinterpreted. It is important to remember that we are trained to teach, not

to be a student’s personal psychologist. When a student is experiencing a mental health crisis, walking with them to

their guidance counselor says a lot, and staying for several

choices. Mistakes are misguided actions, and choices are

gets blurred when emotion comes into play. Although choices and mistakes are very similar, a primary shared characteristic is that they both have consequences.

Regardless of the consequences, every choice, including choosing not to act, is a teachable moment in disguise.

At the beginning of my teaching career, when I lacked

patience and often got frustrated during rehearsals, trips, student/parent conferences, and while reviewing recordings, I realized that my frustration was the result of my

confusion. For example, during one rehearsal, I accused a student of not knowing their part, and I thought that if they weren’t going to learn it, they shouldn’t play it at the concert! I found out later that they miscounted one note and played the others perfectly. Although my lack

of patience and curiosity in that scenario was embarrass-

ing, I am more resilient now because I learned from that mistake.

minutes says even more.

Find Happiness

Patience

music; we GET to teach music. Our resilience may improve

In the beginning of my career, I was so eager to start teaching that my enthusiasm often got in the way. Although I

wanted everything to happen immediately, I realized that my patience was most effective when followed by

persistence. As teachers, we constantly look for opportu-

nities to nudge our students out of their comfort zones to optimize learning, but we must know when to step back

and wait. Sometimes students need an extra moment to

figure it out for themselves. As we develop our patience, we must be realistic with change. For example, people say

that high school programs take four years to adopt the vision and values of a new director. Don’t be surprised when year four rolls around and the seniors who started

with you as first-year students still have some influence from the seniors who were around when they were first-

30 F l o r i d a M u s i c D i r e c t o r

We must remind ourselves that we don’t have to teach from little acts of happiness. For me, it was the note I kept

on my desk from a student who told me I made band fun. Frequently seeing that note reminded me that we

can make a rigorous subject enjoyable. Eating lunch and joking with colleagues was a must every day. Lastly, say

“good morning” and “have a great day” to every student.

If they don’t respond, it might be because they don’t hear it often enough. Also, just because those ear buds are in

doesn’t mean they are playing music, so say it anyway.

With consistency, your students will come to appreciate, expect, and rely on hearing that greeting from you. It feels good knowing that while they may not want to hear us say it every day, they need to hear it every day.

We also need to find happiness outside of the school

setting, and sometimes that happiness can come from

completing small tasks. Washing/vacuuming the car is an

of William Arthur Ward who said, “The pessimist

the same task. Sometimes we need to remind ourselves

to change; the realist adjusts the sails.” As teachers,

example where we can identify a need and benefits from

that when we work for something it feels good to benefit from the outcome, like opening the door to a clean car. The task can be anything from a small maintenance project to a hobby and is not about the time commitment or

labor; it’s about completing a task and reflecting on how

good it feels to accomplish a short-term goal. The lives of music teachers revolve around doing our part to build a lifelong love for music in our students, and that is a mon-

strous task. We must occasionally pause to accomplish something practical and then admire the success of our

efforts. Finding happiness in small parts of our day is necessary maintenance for our well-being. When we engage

in actions to maintain our happiness, this happiness can build our resilience.

The idea I am proposing is that resilience doesn’t

always have to be reactive; it is about being proactive to help mitigate moments when we need to be resilient.

When we establish a community, have a growth mindset, practice reflection, prepare, build relationships, have patience, and practice finding happiness, we can thrive

in music education while having a resilient attitude. We love teaching because we love to see students learn, and

as such, we must continue to learn, too. These thoughts about building resilience may not fit everyone, and our

mentors have far more to teach us than this article can achieve, but we only get that wisdom if we ask for it. This

complains about the wind; the optimist expects it pessimists wallow in regrets of the past; optimists,

without the guidance of information and a plan, hope

for improvement; but realists, armed with hindsight and foresight to guide them, can enjoy the now-sight of the present while guiding “the ships” that are our

students with the instinct, wisdom, and understanding of true insight. (p. 42)

I’ve hit my 10-year mark as a teacher, but every day

has a humbling experience that reminds me how new I

am to this profession. As education continues to evolve, I believe that a resilient mindset will be necessary from

every teacher. I don’t think resilience is no longer needed

after year five; I believe it to be a developmental, lifelong

characteristic that teachers must demonstrate because

that’s who our students need us to be. For our students to believe in us, we need to believe in ourselves. Andy Dubbert is a first-year doctoral student in music education at Florida State University.

He has eight years of teaching experience in two Florida public high schools and holds the MME

and BME in music education from Florida State University.

References

article represents just one person’s opinion, but if you

Boonshaft, P. L. (2010). Teaching with passion, purpose, and promise. Meredith Music Publications.

you can do is isolate yourself by “burying your head in

Cineas, F. (2022, August 18). Are teachers leaving the classroom en masse? Vox. https://www.vox.com/policy-andpolitics/2022/8/18/23298916/teacher-shortages-debate-localnational

start to think you are failing as a teacher, the worst thing

the sand.” Be curious to continue growing and be confident you can do this! We need to be realistic, knowing that

situations expecting us to be resilient are not a question of “if,” but “when” and “how often.” I hope your resilient

mindset can either get off to a good start or feel a boost of support from this quote by Peter Boonshaft (2010), just like it continues to support me.

A teacher’s insight is part mystic, part pragmatist, part sage, part shaman, and part psychologist. Our stock in trade: being as astute as we are ingenious,

as skillful as we are clever, possessing judgement as sound as it is nimble. In short it is living the words

Kelly, S. (2019). Teaching music in American society (3rd ed.). Routledge. Lindqvist, P., Nordänger, U. K., & Carlsson, R. (2014). Teacher attrition the first five years – A multifaceted image. Teaching and Teacher Education, 40, 94–103. https://doi.org/10.1016/ j.tate.2014.02.005 Madsen, C. K., & Madsen Jr., C. H. (2021). Teaching/Discipline: A positive approach for educational development (5th ed.). Contemporary Publishing Company. Manson, M. (2016). The subtle art of not giving a f*ck: A counterintuitive approach to living a good life. HarperCollins Publishers. TeachThoughtStaff. (2016, March 15). A teacher makes 1500 educational decisions a day. TeachThought. https://www. teachthought.com/pedagogy/teacher-makes-1500-decisionsa-day/

November 2023

ResearchPuzzles FOR MUSIC TEACHERS

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

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

Research Perspectives in Music Education

The Relationship Between Music

research related to music teaching and

Majors and Non-Music Majors

esearch Perspectives in Music

Education (RPME) is a jour-

nal published by FMEA, focused on learning. With a 33-year history, it features formal research studies conduct-

ed by scholars from across the United

States. Previous topics covered in the journal include music aptitude, cre-

ative musicianship, curriculum issues, technology, music listening, and music

ensembles. It serves as a valuable resource for music teachers seeking

research-based insights into student learning and instruction. FMEA mem-

bers can access all issues of RPME for free on the FMEA website [https://bit. ly/rpme-past].

The current issue of RPME (2023,

volume 23) has recently been pub-

lished. It features six articles on the

following topics: (a) the relationships among familiarity with music, prefer-

ence for it, and attendance at concerts, (b) adolescent piano students’ interest development in instrumental practice, (c) perceptions of students, parents,

and instructors about a non-school-

based modern band program, (d) teaching elementary general music during

the COVID-19 pandemic, (e) measuring verbal feedback in secondary-level

instrumental music instruction, and (f) the review of a new book about the psychology of music. The abstracts of

the articles are provided below. The complete issue, which contains the full text of each article, can be downloaded

from the journal’s page on the FMEA website [https://bit.ly/rpme-journal].

32 F l o r i d a M u s i c D i r e c t o r

Familiarity, Music Preference,

and Concert Attendance in Music Victoria Warnet,

Columbus State University

The purpose of this study was to determine if college students’ familiarity with

Western classical repertoire influenced

their musical preference and their likelihood of attending a traditional symphony concert where that piece was being

performed. Participants were music majors (n = 30) and non-music majors (n = 30) recruited from the College of

Music and various intramural sports teams at a large southeastern university. Participants in this study completed

an online survey where they listened

to eight musical excerpts performed by a major symphony orchestra. Musical

excerpts consisted of a well-known composition and lesser-known composition of similar tempos by four classical music

composers. For each piece, participants

rated their familiarity and preference on Likert-type scales, indicated whether they would attend a concert where

the piece was being performed, and

participants were willing to pay for a

concert ticket between music majors and non-music majors.

A Descriptive Pilot Study on the

Use of the Interest Development Scale

Carla Salas-Ruiz, Louisiana State University Interest is a powerful factor that influences students’ motivation to learn, fostering effort, attention, efficiency, and persistence. Music teachers require

tools to comprehend the development

of students’ interests and the underly-

ing mechanisms that initiate or sustain them. The Interest Development Scale was

used to measure interest development

in instrumental practice in adolescent piano students (N = 22). Participants were asked to complete the scale on

a one-time occasion. Participants rated the value in practicing the instrument subscale highest, followed by self-regula-

tion, motivation to reengage, persistence, and information seeking. Similarly, they

self-reported experiencing positive emotions, wanting to reengage, and self-regulation behaviors. Findings also may suggest that the Interest Development Scale

specified how much they would pay to

distinguishes between situational and

of t-tests and Pearson correlation coef-

ment within an adolescent population.

attend that concert. Results of a series ficients indicated that music familiarity

individual phases of interest developBy using the Interest Development Scale,

and preference were not related to par-

music teachers may be able to better

or the amount they were willing to pay

iors, and needs, providing information

ticipants’ decisions to attend a concert for a concert ticket. Additionally, there

were no significant differences found in music preference, music familiarity, con-

cert attendance intentions, or the amount

understand students’ interests, behavthat will help them to find appropri-

ate tools and instructional strategies, as well as create interventions to increase

their motivation to practice. Findings

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

may apply to various music teaching

for music before and during the coro-

Scale? (b) How do the verbal feedback

piano studio.

tary general music educators (N = 39)

to how the students vary in achieve-

and learning settings beyond the private

Perceptions of Students, Parents, and Instructors of a Non-SchoolBased Modern Band Program

Dale E. Bazan, University of Nevada-Reno

This study describes the experiences of

K-12 students enrolled in a non-schoolbased modern band program (MBP). The

research focused on strategies used by instructors; perceived benefits and concerns of students, parents, and instructors; and expressed differences between

modern band programs and school music

programs. Questionnaires received from 44 parents provided information about students’ musical backgrounds, interests,

and experiences. In a qualitative second

stage, one elementary and four mid-

dle grades rock bands were observed and videotaped during six rehearsals each (i.e., 30 rehearsals). Semi-structured

interviews conducted with students, par-

ents, and instructors provided addition-

al insight into experiences. Participants

navirus pandemic. Specifically, elemen-

were asked to indicate how they were

currently delivering instruction (online, face-to-face, or hybrid) and how often

each of the National Core Arts Standards

for music was implemented prior to and

Additional findings and their connection to the literature are discussed. Teaching the Standards:

Elementary General Music During the COVID-19 Pandemic

Christina J. Sisson, Florida State University

The purpose of this study was to compare elementary general music teachers’

use of the National Core Arts Standards

pre-service music teachers’ teaching episodes (N = 55) was video record-

the teaching segments using the Pre-

of music teachers were teaching online

in some capacity, and due to this shift,

teachers needed to find new ways to teach to the standards. Overall, there were decreases in the implementation of

all standards; however, those standards related to performance were most affected. Also, during the 2020-2021 school

year, those standards least implemented

before the pandemic remained low, and those standards that were most frequent-

ly implemented before the pandemic remained the most frequently imple-

mented. Further results and implications are discussed.

in the Context of Secondary-Level

monly observed instructional approach.

each individual criterion? A sample of

19 pandemic. During this period, 74.4%

growth of musicianship, self-esteem,

centered instruction was the most com-

scale category structure vary across

ed in 6-10 minute segments. Music

first full academic year of the COVID-

Examining the Quality of Pre-

social skills, and creativity. Student-

ment? and (c) How does the rating

during the 2020-2021 school year, the

perceived the education offered through rock bands as positive, resulting in the

criteria vary in difficulty in relation

Service Teachers’ Verbal Feedback Instrumental Ensemble Rehearsals Myriam I. Athanas & Brian C. Wesolowski, University of Georgia

The purpose of this study was to devel-

op and validate a scale to measure the

quality of pre-service music teachers’ formative, verbal feedback in the context

of secondary-level instrumental ensem-

ble rehearsals. The questions that guided this study include: (a) What are the psychometric qualities (e.g., validity, reli-

ability, and precision) of the Pre-Service Music Teacher Verbal Feedback Evaluation

content experts (N = 15) evaluated Service Music Teacher Verbal Feedback

Evaluation Scale consisting of 39 criteria

embedded within five domains. Data were analyzed using the Many Facet

Rasch Partial Credit (MFR-PC) model. Results indicated a high reliability of

separation and a good data-to-model fit for the MFR-PC. Implications for

teaching and rehearsal effectiveness

as well as pre-service music education training in the secondary-level instrumental classroom are discussed. Book Review: Psychology for Musicians – Robert Woody

Keith Thompson, Pennsylvania State University, University of Florida Psychology

for

Musicians

(Second

Edition) lives up to its title. Robert

Woody has provided a digest of research in psychology that is most rel-

evant to people who seriously engage with music. The book does not purport to deliver a comprehensive overview of the psychology of music. In the

Preface, Woody writes “In this book, I offer the insights of the field in a way

that combines the rigor of empirical

research with the need for practical application demanded by musicians”

(p. x). It is the opinion of this reviewer that Woody met this goal.

November 2023

ComponentNews

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ashley Peek President

No Music Teacher Is an Island (Building Professional and Emotional Support in Music Education) by Pauline Latorre

n the late 60s, there was a popular song

alive. Have we abandoned those

lyrics were based on a meditation written

some, the word networking may

entitled “No Man Is an Island.” The

by John Donne:

No man is an island entire of itself; every man is a piece of the continent,

a part of the main…any man’s death diminishes me, because I am involved in mankind. (Ajeyaseelan, 2022).

The lyrics come to mind when I think

of music education. It is easy for music teachers to feel isolated. Often we are the only music teacher in a school. Perhaps, in rural areas, physical distance leads to iso-

lation. A new college grad or new teacher to an area can feel isolated. (Sindberg, 2011). Yet, there are ways to help music educators feel more connected.

Education is in a constant state of flux.

Changes in leadership, curriculum, or a

connections post-pandemic? To seem “distasteful or phony.”

(Gino, Kouchacki, Casciaro,

2016). We strive for authenticity

in our classrooms. To feel sincerity when networking, we may

need to find a “higher purpose”

when building networks. “Any

work activity becomes more attrac-

tive when it’s linked to a higher goal.” (Gino, Kouchacki, Casciaro, 2016). Maybe our goal is having students perform with

others at a county or state level. Maybe

it’s working together with other teachers

our school community. But what about

have similar goals can make networking

from our expertise or the new teacher

to build a program. Remembering we engaging and authentic.

Stepping out of our comfort zone.

worldwide pandemic can cause a teacher

Building relationships and mentoring

a network of professional and personal

for some. It can be easier to simply serve

to feel overwhelmed and isolated. Having friendships is important for our growth and emotional health.

What can we do to minimize feelings of

isolation and help sustain our profession? Networking, stepping out of our comfort zones, and self-care may be helpful.

Networking. What is networking?

“Networking is the process of making

connections and building relationships” (“What is Networking,” 2023).

During the pandemic, networking

became a lifesaver. We reached out to colleagues near and far to keep programs

34 F l o r i d a M u s i c D i r e c t o r

may not be the most comfortable things

the new college grad who can benefit in your district who is unaware of the

wealth of resources available to them? (Sorenson, 2021). Stepping out from what’s

comfortable goes both ways: for the per-

son seeking support and for the one able to provide it.

FLORIDA VOCAL ASSOCIATION

David Pletincks President

any of you may know I started my teaching career as a band director in the

late 80s and early 90s. I started my career teaching middle school band in

Lee county for five years. After spending the next eight years earning my master’s degree at the University of Tennessee and working full-time in church music, I

Self-care. I think of that popular analo-

gy of the flight attendant instructing us to

returned to the classroom in 2002 to teach band at Powell Middle School in Spring Hill. Twenty-two years later, I’m still in the same music suite, but I moved to the

put on our own oxygen mask before help-

room next door and my life has changed dramatically.

give what we don’t have. As music teach-

I had no idea what I was going to do with a middle school choir. Even with 16

To serve our profession, we need to take

survived the first year and even took the choir to MPA that spring.

friends, and hobbies. If we don’t, we will

I had the opportunity to hear Mary Biddlecombe’s treble choir from Swift Creek

ing others. Without a doubt, we cannot ers, we are constantly giving of ourselves.

time for the things we love; our family, run out of steam.

In the summer of 2004, I found out I was going to be teaching band and choir.

years of church choir experience, I knew nothing about the middle school voice. I Fast forward to the fall of 2005. I attended the Florida ACDA conference where

Middle School in Tallahassee. From the moment they sang their first note, my life was changed forever. The unification of their voices, the purity of their vowels,

Remembering the ways we can connect

and the vibrancy and space in their tone was something I had never heard before.

of isolation and ultimately help sustain

Urbanski, the only person there I knew, and I asked him, “How common is this

as music teachers will help avoid feelings

I literally sat there with my jaw dropped in amazement. I was sitting with Jim

our profession.

sound in a middle school choir?”

Pauline

but not as common as it should be.”

Latorre

I’ll never forget his response. He said, “More common than you would think,

the

music teacher at Stephen

From that day forward, teaching my choir had new purpose and meaning. I

Foster Elementary in Broward

had a recording of the performance, which I played for my choir and told them,

music from the Aaron Copland

was our goal. I began bombarding directors with questions on how to achieve

County. She holds the BA in

“This is what we’re going to sound like.” I had no idea how to do it, but this

School of Music in New York and the MM in

this beautiful choral tone. Having a clear understanding of the desired outcome

music education from Boston University.

changed everything for me.

References

played in a high school band that was known for their jazz band, not their concert

Ajeyaseelan. John Donne (1572–1631), 24 Nov. 2022, www.bartleby.com/ lit-hub/respectfully-quoted/johndonne-15721631-25/. Accessed 26 Sept. 2023.

band. The ideal sound and balance of a concert band is something I had never

Rollag, Keith, et al. Learn to Love Networking, 4 Aug. 2023, hbr.org/2016/05/learn-to-lovenetworking. Accessed 26 Sept. 2023. Sindberg, Laura. Alone All Together—the Conundrum of Music Teacher Isolation And ..., 2011, www.jstor.org/stable/10.5406/ bulcouresmusedu.189.0007. Accessed 27 Sept. 2023. Sorenson, Rachel. How Can I Get Better, 2021, files.eric.ed.gov/fulltext/EJ1305323.pdf. Accessed 26 Sept. 2023.

This realization also gave me clarity on my struggles as a band director. I had

band. I went to a small college in New York that had only a brass choir, no concert experienced in my personal performances. My bands always received ratings of excellent with the occasional superior and good. After two more years teaching band and choir, my principal was going to hire another music teacher and I told him to hire a band director.

I pass this on to struggling choral directors and band directors who are teach-

ing choir. Listen to good choirs and ask questions. Knowing what the ultimate

destination is will give you direction and a heading. We must have a solid grasp on where we are going if we are to continue to grow.

What Is Networking, and Why Do You Need to Do It? www.careereducation.columbia.edu/ resources/what-networking-and-why-doyou-need-do-it#:~:text=Networking%20is%20 the%20process%20of,one%2Don%2Done%20 setting. Accessed 26 Sept. 2023.

November 2023

ComponentNews O

Florida

NAfME

Collegiate

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

To return to our focus of personal,

education major who is from another

in the spirit of the season, I strongly

even studied privately in high school, but

Fall Conference is this weekend,

professional, and community goals, and

Florida, and I’m excited to see (and expe-

urge you to consider for whom you are

November 4–5 at the University of Central rience!) all the fellowship, camaraderie,

mentorship, and learning that’s going to take place. If you’re reading this issue of

the FMD as soon as it hit your inbox, it’s

not too late to join us in Orlando! Check out the Conference link in the header of our website, and contact flnafmecolle-

giate@gmail.com if you need additional assistance.

thankful. Serving within the teaching profession can be an incredibly challenging experience. Teachers are making investments into the future of our world,

daily, and they don’t always get to see when or how those dividends are paid.

Yet, it is often the little things that leave the greatest impression on others.

I was chatting with a freshman music

state. He had always enjoyed music, and his original plan was to become an attorney and join his father’s legal practice. Nevertheless, his applied teacher helped

him identify dispositions that would

enable him to be a wonderful music educator, and he began to see that future as a reality. Unfortunately, during the

COVID-19 shutdown, his music education

experience drastically changed. His band director struggled to find a way to effec-

tively engage with the band members online, and this potential music educator

began doubting whether the teaching profession was really for him.

Thankfully, this young man then

moved to Florida. He was shocked when

FLORIDA NAfME COLLEGIATE University of Central Florida School of Performing Arts

Colin Urbina President

ello, everybody! I hope you are doing well as we

Development Conference in January. For those of you who

off, if you are reading this before November 4, I hope to

tunity to network with teachers from all around the state, to

start to reach the final part of our semester. First

see you in Orlando at our Fall Conference. We will have a fantastic time learning together, creating music, and

meeting new friends from all around the state. A stand-

out moment for me will be participating in the collegiate

large ensemble. I know that coming together as a group to create music will be a wonderful experience I will not soon forget. I also want to make sure to recognize all the

people who have helped plan and execute this conference.

Without their help and leadership, this conference never would have been possible. So a huge THANK YOU to

have never been, the FMEA conference is a wonderful opporgain professional development, and to grow as an educator.

As collegiates, it’s a chance for us to start interacting with teachers, administrators, and art supervisors from around the

state and to get to know people we may one day work with or beside. I hope you all will consider taking this opportunity to attend. We offer scholarships to help offset the cost, including reduced registration as well as housing. Information can be found at our website, flnafmecollegiate.com. I am looking forward to seeing you at the conference!

Finally, as we reach the end of the semester, please be sure

the Florida NAfME Collegiate board, our advisors, the

to take care of yourself and your well-being. I know finals can

have helped put this event together! We cannot thank you

deliberate time out of your day to do something that brings

FMEA board, and all the presenters and volunteers who

enough for your continued support to keep us collegiates moving forward.

As we move into the next calendar year, I am looking for-

ward to seeing even more of you at the FMEA Professional

36 F l o r i d a M u s i c D i r e c t o r

be extremely taxing for all of us, but make sure you are taking you joy and a little bit of peace among all the chaos of college. I know mental and physical health is something we talk about

a lot, but it is vitally important to set good habits now so you can continue with them when you enter into your career.

FLORIDA MUSIC SUPERVISION ASSOCIATION

Christopher Burns, PhD President

the band director at his new school con-

tacted him before he even stepped foot

on campus! He was told how excited the community was to have him with them, and he received a schedule of events and an invitation to join their band family.

The first day he approached the band room, one of the student leaders for

the program was waiting at the door to greet him. Within moments, the band director appeared, addressed him by

his name, and enthusiastically welcomed

him home! He felt valued. He believed

he mattered because of who he was and what he could bring to his community,

not just what his community could do for him. He also recognized the unique experience he had was the result of a

thoughtful, purpose-driven, and people-focused educator. That’s when this

young man knew his future as a music educator was certain.

None of us would be where or who we

are if it were not for others who crossed

our paths or walked alongside us on our

w Swing by Target, Walmart, or Dollar journey. So, here is my challenge to you:

Tree and grab a set of thank-you

w Open the calendar app on your cards and envelopes.

phone, and schedule 15 minutes each

Sunday this month to identify an individual who made a significant

impact on your personal or profes-

w Use a thank-you card to write a brief sional life.

but thoughtful message of gratitude

to that individual. Be sure to let them know precisely how your interaction

with them has affected you and how those effects are manifested in your

w Mail the card on Monday and feel life today.

good knowing you will soon remind someone that what they are doing

matters and IS making a difference in the lives of others.

reetings, music educators, supervisors, and all who are committed to the evolu-

tion and improvement of music education in the Sunshine State. It’s that time of

year again—the much-anticipated FMEA Professional Development Conference is on the horizon, bringing together an incredible assembly of thought leaders, seasoned educators, and enthusiastic newcomers in the field. This year’s event promises to be

a treasure trove of learning opportunities, particularly for music supervisors keen on shaping the future of music education in their respective districts.

The must-attend sessions: If I Knew Then What I Know Now – Tips for a Successful First Year of Teaching

Emily Lopez will bring you through your first year of teaching in a way that you will

feel prepared and excited on Thursday, January 11, in RCC 414! In this session, you will explore different tips, tricks, and strategies that can make your first year in the music classroom a successful one. You will walk away with an abundance of tried

and true lessons and notes for the classroom to ensure a positive experience even beyond that first year.

Acing the Interview: Strategies That Work

Led by the incomparable Ajori Spencer, this session will allow future music educators an opportunity to meet the music supervisors or arts representatives from var-

ious school districts around Florida. Interactive and small group interview and job search strategies will be discussed and practiced. Be in TCC 411 at 3 pm on Thursday, January 11, to prepare yourself for the interview you will ACE! Meet the Supervisors

Perhaps the most compelling session for those invested in the future of music edu-

cation in Florida is “Meet the Supervisors.” Mark your calendars for Friday, January

12, at 1:30 pm in TCC 417. This unique platform will host music supervisors from various Florida districts, including those leading the way in innovation and educational excellence. The session aims to demystify the role of the music supervisor. The

dialogue will offer invaluable insights into how supervisors work to enhance music

education and how you can collaborate with them for mutual goals. This gathering is not just a one-way flow of information. It’s also an unparalleled opportunity to

network with supervisors and educators from other districts. Imagine the potential

for inter-district collaborations, sharing of resources, and the establishment of meaningful partnerships that could uplift music education throughout the state.

If you’re passionate about the growth and betterment of music education in

Florida, then these sessions are for you. Whether you’re a current music educator aiming to understand your district’s objectives better or an aspiring educator looking to find your place in this ever-evolving field, do not miss these amazing presenters and their passion for music education.

See you there! November 2023

ComponentNews H

FLORIDA ORCHESTRA ASSOCIATION

Cheri A. Sleeper President

ow exciting to see so many of you at

students who prepared and auditioned,

all-state orchestra coordinators will mail

just a few weeks ago. I enjoyed the oppor-

ers who work with those students daily.

break. Please look for it to arrive at your

the FOA/FLASTA Fall Conference

tunity to meet Dr. Rebecca Macleod and

was inspired by her keynote address. That, along with hearing the wonderful sessions presented by our own FOA and

FLASTA members, made the 2023 Fall

and more notably, thank you to the teachI look forward to the wonderful music

we will be hearing at the 2024 FMEA

By this point the audition results should

er workdays, etc. It seems like we get

January.

contributed to the conference. I hope you

you reserved in September, those extra

back to the classroom. The conference

planning committee will meet in February and always welcomes your ideas for sessions. Please be thinking of new, fresh

ideas for the 2024 Fall Conference. A huge thank you to all of the people who spent the day with us adjudicating all-state

auditions. Congratulations to all those

I hope your school year is going well.

This time of year can be challenging

have been published. Just a reminder that

were able to take some of the information

school for each of your all-state students.

Professional Development Conference in

Professional Development Conference a great success. Thank you to all of you who

music in December before the winter

if you do not need all of the hotel rooms rooms need to be cancelled by 5 pm on

November 11, or on November 13 you will be charged for one night for each room

being held. Preregistration for the con-

ference closes at midnight on December 11. Payment must be postmarked on or before December 11 if you are paying

by check. After December 11 prices will increase to regular registration rates. The

with days missed due to holidays, teach-

that momentum going and then there is

another day without our students that

interrupts us. I know many of you teach more than one component, and that

“double duty” can be tough and tricky. Remember that what you do is important and you are appreciated. The love of

music you share with your students on a

daily basis ensures they will continue to be music lovers long after they leave you.

I appreciate all you do for your students, community, and association.

MUSIC EDUCATION

2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Now Accepting Booth Space Reservations for the 2024 Conference! Please register and pay your deposit as soon as possible. We are assigning booth space in the order deposits are paid.

38 F l o r i d a M u s i c D i r e c t o r

fmea.org/

conference/exhibitor-information/

Please take time to thank and support our 2023-2024 Academic Partners.

GOLD PARTNERS

BRONZE PARTNERS Rollins College Department of Music St. Thomas University Partners as of October 11, 2023.

*Please visit FMEA.org/partners for partnership details or call 850-878-6844. November 2023

GOLD

SILVER PARTNERS Bornoff Foundation for the Advancement of String Education (FASE, Inc.) Partners as of October 11, 2023.

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

40 F l o r i d a M u s i c D i r e c t o r

Please take time to thank and support our 2023-2024 Corporate Partners.

PARTNERS

Amazing Student Tours FloridaFundraiser.com Head’s House of Music Heartsong AV Services Institute for Music Business

BRONZE PARTNERS

J.W. Pepper & Son, Inc. Music & Arts Music is Elementary Romeo Music West Music Company November 2023

CommitteeReports

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chairperson

You Need This!

he FMEA Professional Development

Julia Heath-Reynolds and Kimberly

Conference has a wealth of oppor-

VanWeelden offer “Intentions, Strategies,

diverse learners. With diverse learners

Accessible Music Experiences for All.” In

tunities for music educators who teach present in general music and in performing ensembles at all levels of instruction,

everyone should take advantage of this year’s offerings.

Adam Chitta and Edward Ercilla will

present “What We Need Can Benefit You, Too: Rehearsal Strategies From the

and

Functions:

Steps

for

Creating

addition to ideas for general music, this

dents in music ensembles.

Leslie Costello and Laurie Wohl are the

Florida. They have a combined 32 years’

proactive to meet the needs of our school and community.

Speaking of community, Dave Schreier

University of Central Florida’s concert is

about technologies and strategies for stu-

change lives in your community.

offer tools and ideas to help us to be more

at all levels of music instruction. They

a combined teaching experience of 30 ing. They offer an opportunity to learn

little extra programming, you, too, can

music teachers at the Florida School for

and Christine Lapka will guide you

years, are also deaf and hard of hear-

took away from the experience. With a

session will cover classes and ensembles

Perspective of Deaf and Hard of Hearing

Musicians.” The presenters, who have

astic audience, hear what the performers

through creating an inclusive concert. The a mix of children’s programming with great care for persons who are neurodivergent, hard of hearing, or have other

special needs. In addition to an enthusi-

the Deaf and the Blind in St. Augustine, experience teaching blind and visual-

ly impaired students at the elementary through high school levels. Their session will explore the unique experiences and

challenges of full inclusivity in teaching

the blind and visually impaired students in the music classroom. This session is an opportunity to break down barriers.

Cody Puckett will lead us through

the alphabet soup of “IEP, ESE, SWD,

OMG!” If you are new to teaching, wish you had a college course on the subject, or if you want a refresh, then you need this session. Learn the language and how

Student Conference Experiences to Feature Sessions With

Fran Kick

Fran Kick is returning to this year’s FMEA Professional Development Conference. Fran is the educational resource to turn to when you want students, and anyone who works with students, to KICK IT IN and TAKE THE LEAD!

to adapt the music curriculum to meet everyone’s needs. MUSIC EDUCATION

Giulia Ripani will present his research

about stress and anxiety that immigrant 2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

students experience in “Latino Immigrant

Children’s Acculturative Stress in Music

Classes.” Learn how acculturative stress (stress related to immigration) is affect-

ed by the interplay of variables such as acculturation (adjustment to an unfamil-

iar environment), music self-esteem, and

educational support from parents, peers, and teachers.

All of the sessions are an opportunity

to advance our profession. Who needs to

attend? The ensemble director, the college

teacher, the elementary music teacher, the high school general music teacher, the administrator, the private teacher, and

any person who teaches music will find

42 F l o r i d a M u s i c D i r e c t o r

something of value. You need this!

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

n this month of thankfulness, I am so grateful for all of you—

the amazing music educators, music education administrators,

and music education supporters who make up the FMEA. Your FMEA Awards continues to strive to thank all of you for what

you do for music education. From every corner of this huge state, to every day that music is taught, YOUR critical role is what helps

ALL of Florida’s students in ALL schools receive quality and

comprehensive music education. We know that. We see that. We know you. And we see you. You ARE appreciated!

Thank you to everyone who took the time to submit nomi-

“I’d like to thank my students because they are why I’m here.”

—Shaun Bennett, Music Educator

Otis Mason Steel Band, Otis Mason Elementary School FMEA 2023 Exemplary Model Music Program

nations for the 2024 FMEA Awards Program.

As always, your Awards Committee was so impressed by seeing evidence of quality music

education throughout our state. Also, thank you to the dedicated members of the FMEA

Awards Committee, who selected the 2024 awardees for each major category. Your committee gave due diligence in reviewing every

list of achievement and letter of support presented in each nomination packet, ultimately

selecting our awardees. Stay tuned for the next few months’ editions, where you will have the opportunity to read all about our next set of amazing 2024 FMEA awardees.

As you think about all those you would like to thank this

month, let’s hear one last special message of thankfulness from

“Bringing attention to myself and my efforts is really bringing attention to the true heroes of our profession—the music teachers in the trenches, who each day change lives.”

—Kimberly Annis, Instructional Facilitator

Music & Performing Arts K-12 Broward County Public Schools FMEA 2023 Leadership Award for Music Education

three of our amazing 2023 FMEA awardees.

“And thank you to the real heroes of this award—the educators who make such a difference in our lives.”

—Tad Denham, Recycled Tunes Ambassador

Recycled Tunes of Gasparilla Music Foundation and Hillsborough County Public Schools FMEA 2023 Exemplary Model Music Project

November 2023

CommitteeReports

CONTEMPORARY MEDIA COMMITTEE

Clint Randles, PhD Chairperson

Cutting Edge Music Classrooms

Are Built on Improvisation

luid and flexible music classrooms

on the spot, they are pushed beyond

sound that nearly always leads to musical

their musical instincts. This process not

are fueled by a playfulness with

improvisation. Long regarded as a cor-

nerstone of musical expression, improvi-

sation holds a special place in the hearts of musicians and educators alike. Its

integration into music classrooms can lead to a plethora of benefits for students, enhancing their musicality, creativity, and overall understanding of music. Unleashing Creativity and Musicality

Improvisation serves as a gateway to

unleashing creativity within students.

When they are encouraged to experiment

with melodies, rhythms, and harmonies

44 F l o r i d a M u s i c D i r e c t o r

their comfort zones and learn to trust

time, and communicating well through music.

only leads to enhanced self-expression

Fostering Collaboration and

connection with their chosen instrument

Improvisation promotes a sense of

but also allows them to develop a deeper

or voice. By incorporating improvisational activities into the curriculum, music

teachers provide students with a platform to explore various musical genres

and styles. This exposure helps them appreciate the diverse range of musical

elements and techniques that shape the musical landscape. As students immerse themselves in improvisation, they also

refine their sense of musicality, learning

to listen attentively to themselves and

others, adapting their playing in real-

Communication

camaraderie and teamwork among your students. When they engage in group

improvisational activities, they learn to

respond to each other’s musical cues, seamlessly weaving their contributions into a harmonious whole. This collab-

orative aspect not only enhances their listening skills but also teaches them

the importance of communication and empathy in a musical context. In a larger

ensemble, such as a band or orchestra,

improvisation encourages students to

HEALTH AND WELLNESS COMMITTEE

Aaron Kass Chairperson

engage in musical conversations. Just as

in spoken conversations, students take

turns sharing their musical ideas and

responding to others, creating a dynamic dialogue that showcases their individuality while contributing to the collective sound. This experience of collec-

Gratitude

xpressing gratitude is something that may or may not come easy to you. If

you are like me, it is something I continue to work on and so I would like to

tive improvisation fosters a strong sense

share some personal reflections on gratitude.

boosting their confidence in their musi-

of being thankful; readiness to show appreciation for and to return kindness.”

music is a communal endeavor.

mental state in addition to being a reciprocal act of kindness and generosity.

of unity and shared accomplishment, cal abilities and reinforcing the idea that

Boosting Confidence and Overcoming Fear

For many students, the idea of improvi-

sation can be intimidating. However, the process of gradually introducing improvisational activities can help them over-

What is gratitude? A quick google search will tell you gratitude is “the quality

This definition leaves out the ways in which expressing gratitude benefits our

Gratitude has a positive quality to it. Positive in the sense of what is versus the

negative, that is, what is not. Aiming our attention toward gratitude allows us to notice what is present in our lives that we are able to work with. It is the opposite of looking at what is missing or what we do not have and trying to fill in the gaps

to get there. The latter one stems from desire while gratitude comes from a place of abundance and the acknowledgement of all that abundance has to offer.

In aiming our attention toward what is present in our lives, we do not miss out

come their fears and insecurities. As they

on what is being offered to us in any given moment. We spend less time search-

mental environment that a music class-

what we can work with. It is a mindset that is ready for opportunity. What is

experience the supportive and nonjudgroom provides, students gain the confidence to experiment and take risks. This

ing for and stressing over what we do not have and instead are able to focus on present in your life and how can you work with it?

How far can our gratitude extend and what can it encompass? In giving thanks for

newfound confidence extends beyond

a meal, we can certainly be thankful for those who prepared the food, either our-

their overall self-esteem and willingness

we operate in. We can include the people who delivered the food, the people who

the realm of music, positively impacting to embrace challenges in other areas of their lives.

In conclusion, the value of improvi-

selves or those around us. It is the baseline, however, for a much larger system tended to the animals and crops at the farm, and even to the soil full of organisms ensuring life continued on.

It is also appropriate and important that we give thanks to those around us

sation in music classrooms cannot be

who have helped shape who and where we are in life. This can include ourselves

ity, foster collaboration, enhance theo-

we come from, our family and community, and even the person who graded our

overstated. Its ability to nurture creativretical understanding, and boost confidence makes it an essential component of a well-rounded music education. By

encouraging students to explore and

improvise, music teachers empower the

for the hard work and dedication we display, our mentors and the institutions SAT/college entrance exam or those who said YES to our college application, proj-

ect proposal, or job interview. All of this is a part of our story and daily continues

to be. When we focus on gratitude, we are able to see the fabric that connects us all and how we work together to weave this beautiful tapestry we call life.

Gratitude acknowledges the larger operation of life and has the ability to bring

next generation of musicians to embrace

us out of a narrowly focused way of seeing how we operate in any given space. It

expression, ensuring a brighter future for

to show up in those moments in more mindful ways. Take time this November to

the limitless possibilities of musical the world of music. Improvise every day in your classroom. It is the foundation of creative music-making.

is inclusive of all things that come together in a given moment and can allow us

aim your attention toward gratitude and all that it has to offer. May it transform your perspective and relationship to the world around you, and may you find love in all you do.

November 2023

ExecutiveDirector’sNotes

FMEA Executive Director Kathleen D. Sanz, PhD

The mission of The Florida Music Educators Association is to promote quality, comprehensive music education for all Florida students as a part of their complete education.

Moving FMEA Forward the importance of music education for Florida students. Please look for communication from FMEA to assist us

with reviewing the bills. If you have questions about the

bills as they move through the process, please call Dr.

Kathleen Sanz at the FMEA office. It is so important for you to be involved personally in helping legislators make

good decisions for Florida students in general and for music students in particular.

In addition, if you typically vote by mail, a new law

requires that you request mail-in ballots every two years, so you will want to check on your status with your local

supervisor of elections. You may have received a recent Music Education Begins with ME! Preregistration is open for the 2023 FMEA Professional Development Conference Music Education Begins with

communication from your supervisor of election’s office with information on how to request your ballots.

ME (FMEA.org/conference). Be sure to watch the FMEA

FMEA Committees

Tampa, January 10-13, 2024. FMEA leadership and staff

zations, there are more than a dozen committees focused

website to take advantage of this excellent conference in

In addition to the strong leaders in the component organi-

are looking forward to seeing everyone there.

on specific aspects of music education to move FMEA

The FMEA hotel block opened September 30. Please

note that the deadline to cancel an unneeded hotel room is November 13, 2023, at 5 pm, after which time your credit card will be charged for one night. See more information in this magazine.

Advocacy and Government Relations

forward. Review the list of committees on the inside back cover of the magazine and if you are interested in participating in one of the committees, let the committee

chairperson know of your interest to work with them. We

encourage FMEA members to engage in the activities of the association. So, volunteer!

Mark your calendars for the 2024 Legislative Session,

Health and Wellness

2024. The Florida Music Education Association, Florida

tal health, along with the health of your students. There

which will begin January 9, 2024, and will end in March

It’s very important to be aware of your physical and men-

School Music Association, and Florida Art Education

will be a 3K walk/run during the FMEA conference in

Association are collaborating on the 2024 Center for Fine

Arts Education legislative platform. The group will be developing the platform along with the advice of the

CFAE lobbyists. Once the platform is developed, we will distribute the platform and ask that you, as members, communicate with your representatives and senators

January. Sign up on the FMEA website to participate. The FMEA Health and Wellness Committee is focused on helping our members remain healthy.

I am looking forward to seeing you in January at the

FMEA Professional Development Conference and AllState Concerts.

Kathleen D. Sanz, PhD

46 F l o r i d a M u s i c D i r e c t o r

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

Jason P. Locker

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

Shelby R. 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 President-Elect

Scott Evans

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

Bernard (Bernie) Hendricks, Jr.

Ocoee High School 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net FCMEA President

Sandra Sanchez Adorno, PhD Florida International University 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu FEMEA President

Ashley Peek

Holley-Navarre Intermediate 1936 Navarre School Rd.; Navarre, FL 32566-7504 ashley@femea.flmusiced.org Florida NAfME Collegiate President

Colin Urbina

University of Central Florida co006947@ucf.edu Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD Florida State University mbelfast@fsu.edu FMSA President

Christopher Burns, PhD

School District of Osceola County (407) 870-4901; christopher.burns@ osceolaschools.net

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Historian/Parliamentarian & Executive Director.................................................. Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org

President......................................................Sandra Sanchez Adorno, PhD Florida International University; 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu

Editor-in-Chief.................................................................Kelly Miller, DMA University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009 (407) 823-4545; kelly.miller@ucf.edu Conference Planning Committee Chairperson........John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com FSMA President....................................................................Jane Goodwin Jwin555@gmail.com Hall of Fame Chairperson...............................................Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com

FMEA COMMITTEE CHAIRPERSONS Advocacy..................................................................... Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com Awards........................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us Budget/Finance, Development...........................................Jason P. Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org

Past President......................................................................Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com Executive Director............................................................Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

FLORIDA ORCHESTRA ASSOCIATION

Florida Corporate & Academic Partners...................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Health & Wellness..................................................................... Aaron Kass Lake Nona High School; 12500 Narcoossee Rd.; Orlando, FL 32832-6922 (407) 956-8327; aaron.kass@ocps.net Multicultural Network............................................Arnekua Jackson, PhD Boynton Beach Community High School; 4975 Park Ridge Blvd.; Boynton Beach, FL 33426-8318 (561) 713-6851; arnekua.jackson@palmbeachschools.org

President........................................................................... Cheri A. Sleeper Strawberry Crest High School; 4691 Gallagher Dr.; Dover, FL 33527 (813) 363-4139; cheri.sleeper@hcps.net Past President...................................................................... Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Executive Director........................................................... Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

FLORIDA VOCAL ASSOCIATION

Professional Learning............................................................Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org

President............................................................................ David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net

Research....................................................................William I. Bauer, PhD University of Florida; (352) 273-3182; wbauer@ufl.edu

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

Secondary General Music............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Engagement..............................................Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE

President...................................................Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net

Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com

President..................................................................................Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org

Emerging Leaders.............................Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com

FVA President

Harry “Skip” Pardee

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Past President.................................................... Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us

Strawberry Crest High School 4691 Gallagher Dr.; Dover, FL 33527 (813) 363-4139; cheri.sleeper@hcps.net

Member-at-Large

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

Diverse Learners....................................................... Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu

Local Chairperson..................................................................Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us

Powell Middle School 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net

President..................................................................................Colin Urbina University of Central Florida; co006947@ucf.edu

President............................................................... Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@osceolaschools.net

Exhibits Manager fmeaexhibits@fmea.org

David Pletincks

FLORIDA NAFME COLLEGIATE

Contemporary Media.................................................... Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu

FOA President

Cheri A. Sleeper

Past President.............................................................. Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu

FLORIDA BANDMASTERS ASSOCIATION

Past President....................................................................... Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.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 Business Manager................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com

Executive Director...................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net Business Manager................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations...................... Valeria Anderson, IOM (val@fmea.org) Technology Director....................................Josh Bula, PhD (josh@fmea.org) Marketing & Membership Coordinator.........................Jasmine VanWeelden (jasmine@fmea.org) Administrative Assistant..............................Siena Deaton (siena@fmea.org)

AFFILIATIONS

November 2023

FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

2024 AUDITION DATES January 27 | February 10 | February 24

Application Deadlines

Additional dates available by appointment.

Freshman Priority Deadline: November 1 Freshman & Transfer Final Deadline: February 1 Graduate Student Priority Deadline: December 1

Graduate Piano Accompanying and Opera Coaching Auditions: January 19 & February 16

FINAL DEADLINES MAY VARY BY PROGRAM SEE APPLICATION INSTRUCTIONS ONLINE

Florida State University College of Music | musicadmissions@fsu.edu | music.fsu.edu

48 F l o r i d a M u s i c D i r e c t o r

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