Tokenism Trap Strategies for Combatting Tokenism as You Strive to Do ‘Better’
PLUS: Sneak Peek at the 2025 Conference FMEA & FVA Candidates All-State Conductors
Advertiser Index
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Executive Director Florida Music Education Association
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President’s Message
2025 FMEA Professional Learning Conference Sneak Peek
Student Leadership Workshop
Wednesday, January 8, 2025
12:30 pm – 4:30 pm, TCC, Ballroom A
Robyn Hilger and Susan Smith
Celebrate the FMEA Exhibition Grand Opening Ceremony
Featuring:
THE Brass Band of Central Florida
Thursday, January 9, 2025, 12:15 pm
TCC, East Hall A
Featured Performer: Voctave
FMEA General Session 1
Thursday, January 9, 2025, 10 am
TCC, Ballroom A
Concert
Thursday, January 9, 2025, 8 pm
TCC, Ballroom B
Voctave is a dynamic 11-member a cappella group hailing from Central Florida, renowned for their intricate and captivating vocal arrangements. Founded in the winter of 2015 by esteemed producer and arranger Jamey Ray, Voctave brings together a rich tapestry of musical backgrounds including musical theatre, contemporary Christian music, barbershop, pop, and choral music. The group’s members have performed globally and contributed to numerous recordings, showcasing their versatile talent.
Jason P. Locker
President-Elect’sMessage
Harry “Skip” Pardee President-Elect
FMEA to Conduct Communications and Marketing Needs Assessment
Greetings, FMEA, and happy November! Our organization is off to a great start to the school year, working toward our mission to promote music education in all Florida schools.
I am pleased to update the membership on a substantial project to improve our marketing, branding, and communications strategies for FMEA. With the Board’s approval in September, we have contracted with Galloway-Gonzalez Consulting (GGC) to conduct an all-inclusive communications and marketing needs assessment for our association. This needs assessment report will inform the Board of Directors of the state of our communications efforts as an association and will determine alignment with our strategic plan. This is an essential first step in deciding what (if any) action we take to ensure our work in communications is modern in approach, time-bound, and inclusive of all the association’s comprehensive initiatives. As part of this needs assessment, FMEA leadership, CFAE staff, and select membership groups will assist GGC in assembling data to help craft the needs assessment.
We look forward to working with Allison Galloway-Gonzalez on this vital work on behalf of FMEA.
Looking toward our annual Professional Learning Conference, FMEA is proud to produce an exciting Pre-Conference centered on Rural and Title I music education programs. Our stellar lineup of presenters comprises nationally recognized thought leaders and difference-makers in their home communities. Please join us Wednesday afternoon, January 8, for this collaborative, informative, and productive afternoon centered on support for some of our underserved communities in Florida.
I want to take this opportunity to reaffirm my commitment to our membership regarding open, transparent, and frequent communication. Music education in our state is a collective lift; we must all work together to ensure a robust arts education for the students in our care. This begins with knowing who is “in your corner” at the state level. If I can assist you, your organization, your colleagues, and your students, please feel free to email me at skippardee@FMEA.org so we can book a conversation. I look forward to connecting with you!
As we move into a busy fall and winter season, please take time to reflect on the importance of our work. Your work with students changes (and in some cases, saves) lives every day!
Florida Music Education Association President-Elect
Florida
Music Education Association
Advocacy Report
Jeanne W. Reynolds Chairperson, Advocacy Committee
It is my honor to use this space to reprint one of the most moving FMD columns I have ever read. It was first printed in October 2001 following the 9/11 terrorist attacks. It was written by the brilliant Hall of Fame Laureate Carolyn Minear when she served as FMEA president. As we go to press with this November FMD edition, we are navigating a complicated election cycle that is troubling due to some deeply divisive rhetoric. We are also recovering from two devastating hurricanes—with several weeks left in the 2024 hurricane season. During these challenge times, Carolyn’s words still resonate strongly with me.
Jeanne W. Reynolds
And Still The People Sing
And still the people sing … Why did the entire Congress of the United States of America stand on the Capitol steps before sunset on Sept. 11, 2001, and spontaneously sing “God Bless America”?
And still the people sing … Why did government leaders gather in the Capitol rotunda on Sept. 12, 2021, to hear “Amazing Grace” sung by a security guard?
And still the people sing … Why did the country gather in prayer and song on Sept. 14, 2001, to hear voices of children, opera singers, pipe organs, choirs, orchestras, bands, or a lone bagpiper?
And still the people sing … Through our tears, through our anger, through the sound of a single trumpet sounding taps to honor the dead, music is core to our being. During this terrible week in American history, musical vibrations became our country’s noblest expression of life, of community, of unity.
Music
both honors life and gives life. If you need concrete evidence of this, the Association for Supervision and Curriculum Development (ASCD) has just published a book by Eric Jensen, Arts With the Brain in Mind, which I heartily recommend to you. Mr. Jenson makes a compelling case for music, stating “It is the ethical, scientific and cultural imperative that all children get exposure to music on an equal basis with every other discipline.” To substantiate the case that music is a fundamental, essential human discipline, Mr. Jenson makes the following research-based arguments:
w Music enhances our biological survival and is hardwired into our genes.
w Music has predictable developmental periods. “In very young children who use their left hand to play an instrument, there is evidence of larger cortical area in the sensory
by Carolyn Minear
cortex … those who began to play prior to age 5 showed the greatest changes.” Adults who started playing before the age of 8 have up to 15 percent more fibers in the brain’s corpus callosum [the massive formation of nerve fibers bridging the two cerebral hemispheres].
w Cognitive systems are enhanced by music, including visual-spatial, analytical, mathematical, and creative. This neural symphony theory correlates to greater learner engagement and efficiency.
w Emotional systems are positively affected, including endocrine, hormonal, social, personal skills, cultural, and aesthetic appreciation. Music-making forces us to create, reflect, bare our souls, ponder, react, and formulate in a powerful language of expression.
w Perceptual-motor systems are enhanced, including listening, sensory acuity, timing, and state management. Through music, we know reading skills, physical skills, perception, muscle strength, hearing, and behavior are enhanced.
w Stress-response system is enhanced, which includes the immune response and autonomic nervous system, the sympathetic and parasympathetic systems.
w Memory systems are activated through improved listening, attention, concentration, and recall. Musicians actively listen; they filter, analyze, and respond to sounds. These factors are driving forces behind all learning and living. Thus, every music lesson or rehearsal is a celebration of what it is to be alive, to be human. Is the study of music a frill, an entertainment, or an extracurricular bit of fluff? The week of Sept. 11 proved otherwise. We place ourselves at the core of humanity when we make music together. Thank you for sharing the discipline and art of music with your students, because we understand that in all times … Still the people sing
Yes, indeed, Carolyn, Still the people sing—And the people sing together.
BernieBernard (Bernie) Hendricks, Jr.
Hendricks has served as band director at Ocoee High School since the school opened in 2005. Prior to that, he served as band director at Robinswood Middle School in Orlando for eight years. Mr. Hendricks is a 1997 graduate of Florida A & M University, where he served as university band president and percussion section leader of the Marching 100. As an active member of the Florida Bandmasters Association, he has served as district secretary and treasurer as well as FBA president. Locally, Mr. Hendricks served on the Orange County fine arts curriculum and leadership teams and the All-County Concert and Jazz Band committees. Mr. Hendricks has served the Florida Music Education Association as chairman of the Multicultural Network and member of the State Executive Board, Advocacy Committee, and Awards Committee.
Mr. Hendricks received the honor of Teacher of the Year in 2000 at Robinswood Middle School as well as in 2007 and 2017 at Ocoee High School. In 2017, he was a finalist for Orange County Teacher of the Year. He was also recognized by the School Band & Orchestra Magazine as the Florida representative for their “50 Most Influential Directors” issue. He is a recipient of the Sousa Foundations Legion of Honor and most recently noted as a semi-finalist for the GRAMMY Music Educator Award.
Mr. Hendricks is an active adjudicator and clinician throughout the state of Florida and has presented a variety of professional development sessions at our state conference as well as in local schools and districts. He also serves the Orlando community as band leader and Life Group leader at Orlando World Outreach Church. Bernie and his wife, Sha, who is also a music educator turned college and career specialist, reside in Ocoee and are the proud parents of three wonderful young people.
Vision
I am a proud product of FMEA and FBA, specifically the band programs in Tallahassee. Moving to Tallahassee when I was in fifth grade and being introduced to Orff instruments in Mrs. Rivers’ music class at W. T. Moore Elementary School gave me a very solid foundation to music and the joys of being a part of a music program. Then on to Cobb Middle School and the band program of Bill Miller and Lincoln High School under Bob Hansbrough, and I lived down the street from Byron and Bobbie Smith (Lincoln HS choral directors and just two incredibly awesome human beings) … the music education just kept coming! And finally a college education at FAMU under the guidance of Dr. William P. Foster, Dr. Julian White, and Dr. Shaylor James. By the time I graduated, music education was just part of who I was and who I am to this day. I mention these things because over my 28-year teaching career, I’ve learned that probably the most valuable thing I’ve acquired are the relationships that are built and forged through music education.
The Mission of FMEA states “Promoting quality, comprehensive music education in all Florida schools.” Several years ago that mission statement stated “Promoting quality, comprehensive music education for all Florida students.” Although a few words have changed, two things that have remained are QUALITY and ALL! If granted the opportunity to serve in this capacity, I’ll continue to move forward the mission of ensuring that ALL students, regardless of who they are, where they live, what they look like, have access to the same thing I had access to when I was a student in these very Florida schools.
A reinvigorated investment in the “Next Generation” of music educators will be on the forefront as well. If we fail to invest in our future, we will cease to exist. The “ALL” in the FMEA mission statement also pertains to ALL music educators, which brings us back to building positive relationships among members. Yes, we have a fabulous annual conference that brings thousands of music advocates to a single location for a short period of time. However, we must continue to develop opportunities to reach even more music educators through our digital and social media platforms as well as future innovative and creative avenues to include ALL.
It is truly an honor to be considered to serve this organization in this capacity, and I look forward to continuing to move the mission of FMEA forward for the next generation of music educators and music students.
Rosemary Pilonero
Rosemary Pilonero is in her 31st year of teaching music and 11th year at The Villages Elementary of Lady Lake in Lake County, Florida. She previously taught music for eight years in Sumter County, Florida. Before moving to Florida, she taught music for 12 years in Ramsey, New Jersey, where her job included a variety of roles: fifth grade beginning band director, elementary general music teacher, middle school chorus accompanist, and assistant director of the high school marching band. She has earned two music education degrees: a bachelor’s degree from the University of Massachusetts at Amherst and a master’s degree from Montclair State University in New Jersey. In 2009 and 2018, she was selected Teacher of the Year at her schools. Mrs. Pilonero has completed her Orff Certification and two Orff Master Classes. She is a past treasurer of the Central Florida Orff Chapter (CFOC) and current director of the CFOC/Orange County Public Schools Orff Levels Course.
Rosemary has been a clinician for all-county Orff ensembles in Orange, Seminole, Pinellas, and Polk counties and a workshop clinician in Pinellas and Polk counties as well as for several Orff chapters. In 2022, she conducted the Florida Elementary Music Educators Association (FEMEA) Central Regional Orff Ensemble. She served as a regional representative on the American Orff-Schulwerk Association (AOSA) National Board of Trustees and is a national conference chair of the 2024 AOSA Conference in Des Moines, Iowa. An FEMEA past president, Rosemary continues to serve the Florida Music Education Association (FMEA) as coordinator of the All-State Elementary Orff Ensemble and elementary clinics chair of the Conference Planning Committee. In 2021, she was awarded FMEA Elementary Music Educator of the Year.
Rosemary lives in Wildwood with her husband, Mark, and their dogs, Bella and Dolce.
Vision
I moved from New Jersey to Florida in 2006 and attended my first FMEA conference in January 2007. I only knew a couple of music teachers, and I had never been to Tampa. I remember walking into the Tampa Convention Center in complete awe! The amount of people, the excitement in the air, the whole ballroom of teachers singing the national anthem, the all-state concerts, the awesome exhibit hall, the amazing sessions … I was overwhelmed in the very best of ways! I attended my FEMEA district’s meeting, and people applauded because they had never had a teacher from Sumter County attend before! After about 18 years, Sumter County had just reinstated music in their four elementary schools, and I was given red carpet treatment! I came home from Tampa with wonderful ideas, an excitement for my own classroom full of students, and a sense of belonging with a network of colleagues, many of whom went on to become great friends.
THIS is the power of FMEA, and THIS is why FMEA is so important. No matter where you are in your music education journey, FMEA brings us TOGETHER. We are often the only people who teach music in our individual schools. I sometimes envy the classroom teachers who have a team of colleagues right next door to talk to and collaborate with while we are each a sort of island at our schools. We have this powerful association filled with wonderful colleagues to lean on and learn from, and we must continue to be there for each other. In this time of teacher shortages and tough times of being a teacher, it is perhaps more important than ever that we listen to each other and help lift each other up.
I often hear that the key to classroom management is relationships, and I feel that is also true of our profession—the key to surviving and thriving in music education is RELATIONSHIPS. Relationships with our students, their families, our campus colleagues, our administrators, and our music colleagues are all so vitally important. This is my vision for FMEA, to build new relationships, strengthen current relationships, and make new connections so we can help ALL music educators not only survive, but THRIVE. My school’s motto is TOGETHER WE CAN, and I see FMEA as TOGETHER WE WILL because we need each other now more than ever and we truly are BETTER TOGETHER. FMEA has done so much for me, and I would be honored to give back through servant leadership as FMEA president.
FVA PRESIDENT-ELECT
Tabitha Peck
Tabitha Peck is the director of choral activities at Leon High School, where she has been teaching for 23 years. She holds a BME and MME in choral music education from the Florida State University College of Music where she studied voice under Janice Harsanyi (undergraduate) and Roy Delp (graduate).
Mrs. Peck’s ensembles have performed at the Florida ACDA Conference, the FLACDA President’s Concert, the FMEA President’s Concert, and the Southern Region ACDA Conference. Her choirs have also received Choir of Distinction titles at the FVA state music performance assessment. She has presented sessions at the FMEA Professional Learning Conference on the topics of music theory and a cappella music. Each summer, Mrs. Peck produces and music directs the Leon Summer Musical and is active in Leon’s Thespians, selecting and assisting with musical numbers, which are frequently chosen Critic’s Choice and Best in Show at the district and state levels.
Mrs. Peck founded the national award-winning pop a cappella group The Mane Event, as well as the Theatre Tech program. She manages the Leon Performing Arts Theatre, which oversees approximately 120 events in LPAT each season.
Students from Mrs. Peck’s programs have consistently gone on to place in collegiate voice, music education, music therapy, musical theatre, and technical theatre programs. Former students have performed on Broadway, Broadway National Tours, and in opera houses throughout the United States and Europe.
Mrs. Peck is active in leadership with FMEA, FVA, and ACDA, along with membership in USITT and NAfME. She is FVA District 3 treasurer, a past District 3 chairperson, and a member of the ACDA Executive Board as state treasurer and webmaster.
Tabitha has two beautiful daughters with her husband, Tim.
Jeffry Bogue
A Florida Native, Jeff Bogue graduated with a bachelor’s and a master’s degree in choral music education from the College of Music at Florida State University. Mr. Bogue is in his 19th year teaching chorus at Newsome High School in Lithia, Florida. Mr. Bogue is also in his third year serving as the choral director at Palma Ceia Methodist Church in Tampa, Florida.
Mr. Bogue has been honored to be a guest clinician for honor choirs in Pasco, Clay, Okaloosa, and Manatee counties and has served as a boardapproved Florida Vocal Association adjudicator in many outstanding districts throughout the state. Jeff has also served as the FVA District 7 chairperson, coordinator of the All-State TTBB Chorus, and as a director with Lumina Youth Choirs.
As a student musician growing up in music programs in the state of Florida, Mr. Bogue was inspired and enriched by the incredible experiences provided by the Florida Vocal Association. These growth opportunities continue to inspire him as an educator. It is Mr. Bogue’s belief that the influence and opportunities provided by FVA are vital to the students and teachers of Florida. If given the honor of serving as FVA president, it would be his great honor to serve the organization and continue to work diligently to be sure the organization exists to serve the musical needs of all of the students and teachers of the state. He would also love to see the organization continue to support and provide resources for new teachers.
Anthony
Zoeller, DMA
Dr. Anthony Zoeller is entering his 13th year as chorus director at Forest Glen Middle School in Broward County. Previously, he pursued a career in opera and earned a doctorate in voice performance, but he has found his greatest professional joy in teaching community singing to young people.
Anthony has served FVA as an adjudicator and District 15 chairperson. He has also been a guest clinician for middle school honor choirs and festivals around the state. He was the founding director of the Coral Springs Children’s Choir, and he maintains an active performing career in South Florida. Most importantly, he has introduced a couple thousand beautiful young people to the joy of singing with others.
Amber Turcott
mber Turcott is in her 21st year as the choral and musical theatre director at Tarpon Springs Middle School, where her ensembles have consistently earned superior ratings at district music performance assessments, solo/ensemble assessments, and various school music festivals throughout Florida and Georgia.
Ms. Turcott serves as a teacher mentor and has held leadership positions in both FVA (district chair and treasurer) and the Pinellas County Music Educators Association, where she recently served as president.
Ms. Turcott earned graduate degrees in both vocal music performance and choral music education from the University of South Florida. As a Florida Vocal Association board-approved adjudicator, Ms. Turcott adjudicates solo/ensemble and choral music performance assessments throughout the state. In 2016, Ms. Turcott was honored by NAfME as a quarterfinalist in the GRAMMY Music Educator of the Year Award.
SUMMER MUSIC CAMPS
SUMMER MUSIC CAMPS
SUMMER MUSIC CAMPS
Six Florida Educators Named Semifinalists for the 2025 GRAMMY Music Educator Award
FLORIDA IS WELL REPRESENTED IN THE 2025 GRAMMY MUSIC EDUCATOR AWARDS, AS SIX OF THE 25 SEMIFINALISTS ARE FROM THE SUNSHINE STATE.
CONGRATULATIONS TO THESE FLORIDA MUSIC EDUCATORS:
w Michael Antmann Freedom High School (Orlando)
w Cindy Ellis Miami Arts Studio 6-12 at Zelda Glazer (Miami)
w Bernie Hendricks, Jr. Ocoee High School (Ocoee)
w Jennifer Jimenez South Miami Sr. High School (Miami)
w Stefanie Sagaro Academy for Innovative Education Charter School (Miami Springs)
w Shannon Stem University Academy (Panama City)
The Recording Academy and GRAMMY Museum announced 25 semifinalists for the 2025 Music Educator Award on October 1. These 25 music teachers from 24 cities across 14 states were selected from more than 2,400 initial nominations submitted from 49 states. More than 200 quarterfinalists for the award were announced in May. Finalists for the 2025 Music Educator Award will be announced in December, and the ultimate recipient will be recognized during GRAMMY Week 2025, ahead of the 2025 GRAMMYs.
Presented annually by the Recording Academy and GRAMMY Museum, the Music Educator Award honors educators who have made a significant and lasting contribution to music education and demonstrate a deep commitment to maintaining music education in schools.
The Music Educator Award is open to current U.S. music teachers. Anyone can nominate a teacher, including students, parents, friends, colleagues, community members, school deans, and administrators. Teachers can also nominate themselves. All nominated teachers are notified and invited to submit an application.
Each year, the Music Educator Award recipient is selected from 10 finalists and receives a $10,000 honorarium, along with a matching grant for their school’s music program. The nine additional finalists will receive a $1,000 honorarium and matching grants. The remaining 15 semifinalists, who are not selected as finalists, will receive a $500 honorarium with matching school grants.
THE TOKENISM TRAP
Strategies for Combatting Tokenism as You Strive to Do ‘Better’
by Erin Zaffini, DMA
AA night of multicultural music. Concerts devoted to the music of Latin America. Teaching a jazz unit in general music during Black History Month. As a profession, we have made incredible strides toward representation in our music classrooms. When it comes to representation, I have never been more inspired by music educators and our profession than I am today. The adage “know better, do better” rings true as I work with my own graduate students and teachers during school district professional development days as they strive to be more inclusive.
Yes, many of us do know better (or are at least on the path toward that end), and we are acting upon it with such gusto that I am certain the representation of music from marginalized composers and communities is markedly more when compared to where we were 10 years ago. And yet, I see a clear trap that many fall into as we continue this effort: tokenizing the very populations we are trying to include.
When you think about it, it’s really easy to fall into this trap. Many of us choose repertoire based on months and themes. I have fallen into this trap more times than I can count. A clear example is when I included a jazz research
project for my sixth grade general music students during Black History Month. Truth be told, had it not been for Black History Month, I might not ever have done this project with my students. Yet, the way I was teaching jazz music was problematic. Not once had I consulted someone who was an expert in the genre or invited anyone into my classroom to share their story, their lived experience. I failed to go beyond surface-level inclusion to bring a richer and more authentic experience for my students. Although I meant well, this project had embodied tokenism in all possible ways.
For music teachers to truly promote cultural understanding, we must actively engage in strategies that allow for an authentic representation of diverse musical traditions. We need to begin thinking beyond the “what” of what we teach and start digging deeper into the “how.”
For many of us, that can make all the difference. Below are some actionable steps we can take to decrease the risk of falling into the tokenism trap. Consider picking one or two strategies that can make avoiding tokenism more manageable. Work on those and gradually add in more strategies. Progress over perfection for the win!
continued on page 16
THE TOKENISM TRAP
continued from page 14
Cultures
To teach diverse musical traditions authentically, consider developing a deep understanding of these cultures. Tokenistic engagement with non-Western music often stems from a lack of knowledge or understanding on our part as educators. Commit to ongoing learning about the cultural, historical, and social contexts of the musical traditions you teach (Campbell, 2017). This means moving beyond simply teaching the music itself to also understanding the broader cultural practices, histories, and values that shape it.
Ways to accomplish this include exploring scholarly resources, such as articles, books, documentaries, and recordings by authentic artists to deepen this understanding (Lind & McKoy, 2022). Additionally, attending workshops, lectures, or live performances by musicians from diverse backgrounds can provide firsthand exposure to the music and its context. Immerse yourself as much as possible in the cultural traditions you aim to teach.
rhythmic patterns of West African drumming, Brazilian samba, and Indian classical music, allowing students to compare the ways different cultures approach rhythm. This approach not only allows diverse music to be regularly included in the curriculum but also helps students to develop a more nuanced understanding of musical concepts across cultures.
A common pitfall of tokenism in music education is the tendency to isolate non-Western music within specific cultural holidays or months. For example, educators may teach a piece of African music during Black History Month or introduce Latin American rhythms during Hispanic Heritage Month, only to return to a predominantly Western curriculum for the rest of the school year. While these efforts are well intentioned, they often result in a fragmented and superficial experience of non-Western music (Banks, 2019).
To avoid this, we could integrate diverse musical traditions throughout the curriculum in a way that is meaningful and cohesive. We can create thematic units that explore various musical styles within broader musical concepts, such as rhythm, melody, or storytelling. Rather than presenting non-Western music as an add-on to the existing curriculum, we can explore how these traditions align with and enrich broader musical concepts. For example, a unit on rhythm could explore the
A key strategy for promoting authentic cultural inclusion is to bring authentic voices into the classroom. This can be done by inviting guest musicians and cultural experts to share their knowledge and experiences with students (Gay, 2018; Lind & McKoy, 2022). These guests can provide insights into the cultural significance and context of the music being studied, helping students develop a deeper understanding of the traditions they are learning about. Guest musicians can also perform pieces from their own cultural traditions, providing students with live examples of the music.
If you don’t have experts in your own community (it’s amazing the amount of expertise, knowledge, and skills that come to light when you ask students about their own families), technology has made it easier to facilitate virtual visits from musicians and cultural experts. Through virtual platforms (thank you, Zoom!), we can connect our students with musicians from all over the world, allowing for real-time interaction and learning. Whether in person or virtually, bringing authentic voices into the classroom helps to combat tokenism by ensuring students are exposed to the lived experiences and perspectives of people from the cultures they are studying.
Emphasize Context and Avoid Stereotypes
A hallmark of tokenism is the presentation of music as isolated sound bites, devoid of cultural, historical, or social context. When non-Western music is presented in this way, it risks reinforcing stereotypes and perpetuating a simplistic view of complex traditions (Nettl, 2005). To avoid this, we can emphasize the cultural context of the music we teach.
Deepen Understanding of Diverse Musical
Integrate Music Authentically Into the Curriculum
Shine a Spotlight on Authentic Voices
Music is deeply connected to the cultural, political, and social circumstances of the people who create it. As such, we should provide students with a thorough understanding of the cultural context in which the music was created. This includes exploring the historical events, social structures, and cultural values that have influenced the development of music. Additionally, we can take strides to avoid presenting a single piece of music as representative of an entire culture. Just as Western classical music cannot be reduced to a single composer or period, non-Western music should be presented as diverse and dynamic, reflecting the range of styles, periods, and practices within each culture.
Empower Students to Explore Their Musical Heritage
In addition to teaching about the musical traditions of other cultures, we can empower students to explore and share their own musical heritage. This can be done by creating opportunities for students to bring music from their own cultural backgrounds into the classroom, allowing them to share their traditions with their peers (LadsonBillings, 1995). One of my favorite activities for this is to invite students to participate in a musical “show and tell” where they can bring music, instruments, or people from home into the classroom to share with their peers. This type of activity allows students to take ownership of their own cultural narratives while fostering a more inclusive and student-centered classroom.
Use Culturally Responsive Pedagogy
By allowing students to share music that is meaningful to them, we can help to promote cultural pride, a sense of belonging among students from diverse backgrounds, and a greater appreciation for the diversity of musical practices and traditions, both within and outside of their own cultural experiences (Ladson-Billings, 1995).
One beautiful by-product of this type of empowerment is when you have students who are unsure or unaware of their own cultural heritage. Encouraging them to learn more about their own family’s historical roots in relation to the arts brings about a wonderful self-awareness that I’ve seen foster pride and confidence within many students.
Culturally responsive pedagogy is a critical tool for promoting authentic cultural inclusion in music education. At its core, culturally responsive pedagogy involves understanding students’ cultural backgrounds and incorporating their musical preferences and experiences into the curriculum (Gay, 2018). It’s not just the repertoire we teach. It includes the strategies we enact and instructional decisions we make in the classroom. It involves the community we co-create with our students and how their cultures and lived experiences inform that community. This approach not only makes the learning experience more relevant and engaging for students but also ensures their cultural identities are respected and valued within the classroom.
THE TOKENISM TRAP
continued from page 17
One way to implement culturally responsive pedagogy is to conduct student interviews to learn about students’ musical preferences, what matters to them outside of school, and their cultural backgrounds. This information can then be used to inform the selection of musical repertoire (students can select this with you!), ensuring students are engaged in music that reflects their cultural identities. We can also allow students to compose or perform music that incorporates elements from their own cultural traditions, allowing for a more meaningful learning experience. Doing these things can take student engagement and agency to a whole new level!
Reflect and Adapt
Creating an inclusive and culturally competent classroom without unintentionally
tokenizing the cultures we’re trying to include requires ongoing reflection and adaptation. If we regularly reflect on our own teaching practices and seek feedback from students, colleagues, and community members, we can become more aware of those times we fall into the tokenism trap and can make necessary adjustments to our practices.
Continuing to seek out professional development opportunities that focus on diverse inclusion and belonging can help us reflect even more deeply as we pursue growth in this area. By reflecting on our practices and seeking opportunities for growth, we can help ensure that all our well-intended steps toward inclusivity are done in relevant and authentic ways.
Final thoughts
Avoiding tokenism in music education requires a commitment to authenticity, contextual understanding, and student-centered exploration. By deepening
our knowledge of diverse musical cultures, integrating music authentically into the curriculum, bringing authentic voices into the classroom, emphasizing cultural context, empowering students to explore their musical heritage, and using culturally responsive pedagogy, we have the power to create an inclusive environment that celebrates diversity and promotes cultural competence. Through these strategies, we can ensure our classrooms are spaces where all students feel valued and respected, and where cultural diversity is seen as a strength to be celebrated.
Ready to level up your game and take on some of these strategies? Let me know how it goes, I’d love to hear all about it!
References
Banks, J. A. (2019). Multicultural education: Issues and perspectives (10th ed.). John Wiley & Sons. Campbell, P. S. (2017). Teaching music globally: Experiencing music, expressing culture. Oxford University Press.
Gay, G. (2018). Culturally responsive teaching: Theory, research, and practice (3rd ed). Teachers College Press.
Howard, T. C. (2003). Culturally relevant pedagogy: Ingredients for critical teacher reflection. Theory Into Practice, 42(3), 195–202. Ladson-Billings, G. (1995). Toward a theory of culturally relevant pedagogy. American Educational Research Journal, 32(3), 465–491.
McKoy, C. L., & Lind, V. R. (2022). Culturally Responsive Teaching in Music Education: From Understanding to Application (2nd ed.). Routledge.
Nettl, B. (2005). The study of ethnomusicology: Thirty-one issues and concepts. University of Illinois Press.
Erin Zaffini, DMA , is the director of teacher education for Longy School of Music’s online Master of Music Education and online Certificate of Advanced Graduate Studies. In addition, she is an active music education consultant for schools and districts around the world. She can be reached at ezaffini@longy.edu
Please take time to thank and support our 2024-2025 Academic Partners.
GOLD PARTNERS
BRONZE PARTNERS
Florida Gulf Coast University University of North Texas
Partners as of October 7, 2024.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
Contemporary Trends & Issues in Education
Wednesday, January 8, 2025 1:00 pm – 5:00 pm
Session A:
Creating Meaningful Music Programs in Rural Schools Presenters
Session B: Charms and Challenges of Students With Disabilities in Title I and Rural Schools Presenters
Session C: #FloridaProud: A Panel of Extraordinary Rural & Title I Music Educators Presenters
Session D:
Spread the Good News: Connecting Rural & Title I Music Programs and Expanding Multicultural Support Networks
Presenters
Dr. DaShaun McGee
Fernando Garcia
Dr. Chris Harper Cody Puckett
Dr. Christine Lapka
Alexander Burden
Maria Del Valle Lissette Garcia-Burden
Sandra Stein
Dr. Arnekua Jackson
Harry “Skip” Pardee
2025 FMEA Professional Learning COnference
We can’t wait to see you in Tampa this January!
go digital!
The 2025 conference program will be digital only ... and of course you’ll want to download the conference app for all the latest info! Concert programs will still be printed.
The FMEA Professional Learning Conference is one of the largest music education professional development events in the United States. In addition to approximately 200 clinic sessions and concerts, it is host to 24 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:
w An exhibit hall with world-class exhibitors providing products and services for music educators and students
w More than 3,000 music teachers and 300 administrators
w More than 200 sessions covering a variety of topics for all music educators, with on-demand access to recordings after the conference
w Performances and mini-concerts from some of Florida’s top music programs
w Networking opportunities, college fair, awards ceremony, and other special events
Important Conference Dates & Information
November 9, 2024
November 12, 2024
December 13, 2024
December 16, 2024
Hotel room cancellation deadline is 5 pm.
Hotels will charge your credit card a nonrefundable deposit for the first night of each room.
Early registration closes at midnight. Prices increase to the regular registration rates. You may continue to register and pay online until the conference.
Postmark deadline for checks mailed to pay for conference registration. After this date, all unpaid conference registrations must be paid by credit card online, or the check must be brought with you to the conference.
All school lodging checks are due to hotels, payable to the hotel where reservations were made for you and/or your students.
The final deadline for discounted hotel blocks; unsold rooms in the FMEA blocks are released back to hotels.
Registration
Registration Prices and Procedures
w Membership in FMEA and NAfME is a prerequisite for registration. See the Registration Policies for details.
w 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.
REGISTRATION FEES
Refund Policies
1. Full registration refunds are available for cancellation requests made through December 15, 2024.
2. No registration refunds will be made for cancellations made after December 15, 2024, 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, 2025. 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.
Registration Policies
1. All participants—directors, students, chaperones, and guests—must be registered for the conference.
2. Only directors may register their groups or pick up registration materials if preregistered.
3. All participating students must be chaperoned. As required by 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.
4. An additional paid chaperone may be registered 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 furnish a letter designating the person from the school or school district who is to be in charge of that student. The letter should be addressed to the FMEA executive director, 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 students registered and participating in sessions 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 be current members of FMEA. This includes directors of invited performing groups, mini-concerts, and session presenters. All-state conductors from Florida schools, colleges, or universities must also be FMEA members. No current music teacher may register as a chaperone.
Chaperone Registration
Chaperone registration is based on the following rules:
Elementary Students
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 on-site registration for entry into the convention center.
Middle School and High School Students
w For every six students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may be registered until the seventh student is registered.
w Any additional attendees (chaperones or guests) must purchase a guest pass at on-site registration for entry into the convention center.
w EXCEPTIONS
~ If you have students in more than one performing ensemble, you may pay for a chaperone for each performing ensemble in which you have registered students.
~ If you have students from different schools, you may pay for a chaperone for each school for which you have registered students.
Chaperones are not allowed to bring other children who are not participating in an all-state ensemble. Only registered students, teachers, and chaperones wearing a conference badge are allowed in and around the rehearsal areas. Directors are asked to make sure their chaperones are aware of this policy before agreeing to serve as a chaperone.
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 Tampa hotels for the January 8-11, 2025, Professional Learning Conference.
We look forward to seeing you in Tampa!
HOTELS
Contracted for 2025 FMEA Professional Learning Conference
NOTE: FMEA IS NOT offering a housing bureau service. All participants MUST reserve their rooms online via links that will be posted at FMEA.org/conference/hotels/ on September 28, 2024 . Please confirm the guest room rate posted below when you make your reservation. We look forward to seeing you in Tampa!
w All reservations will be made online via links that will be posted at FMEA.org/conference/hotels/. Room blocks will open on Saturday, September 28, 2024, at 9 am EDT. The hotel list will be available on the FMEA website at that time, along with the online reservation links and phone numbers for each hotel.
w Guest rooms at the contracted rates will be available until the room block is full or until the cancellation deadline of November 9, 2024, at 5 pm. If your hotel of choice is sold out, please continue to try to make a reservation until November 9, 2024, as FMEA attendees will periodically release surplus guest rooms.
w A maximum of five (5) guest rooms may be reserved per name/credit card.
w Directors should try to reserve rooms for all-state students and chap erones in the hotel where they are rehearsing.
w Credit cards are required for online reservations, and the credit card name must match the name on the reservation.
w If calling, be sure to request the “Florida Music Education Association” room block rate and confirm the guest room rate listed for the hotel.
w If paying by check, reservations must be made over the phone, and a check for the full amount must be mailed directly to the hotel no later than December 13, 2024.
w You do not need to register for the conference before reserving your hotel rooms, but this is something we are considering for future conferences.
w Each hotel will have contract terms, such as parking charges, etc., on their reservation link.
Frequently Asked Questions
Why are the FMEA hotels so expensive?
The prices we contract with the hotels are much lower than their standard room rates during the same dates (in many cases, less than half).
Why is it so hard to get a room?
When the blocks first open, everyone tries to get as many rooms as they can in case they need them for all-state students and chaperones, 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 auditions 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.
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.
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?
Not until December 16. Before that date, all the hotel rooms in the FMEA blocks that are cancelled will go back into the FMEA blocks and can be reserved by other FMEA members at the low FMEA rate.
possible and no later than 5 PM ON NOVEMBER 9, 2024, and you must secure a cancellation confirmation number. This courtesy will make surplus rooms available to other FMEA members and conference attendees.
Nonrefundable Deposit
On November 12, 2024, each room reserved and not cancelled by November 9 will be charged a nonrefundable deposit in the amount of the posted rate for one night plus tax. It will be charged to the credit card used to secure the reservation. Invalid credit cards risk reservation cancellation.
If Hotels Are Full
Every year, the hotel blocks fill up almost immediately upon opening due to teachers overestimating how many they will need for all-state students and chaperones. They cancel the rooms they don’t need after the audition results are released (late October and early November).
w Try again in late October or early November after all-state results are released and teachers cancel rooms for students who were not selected. w Try again after the cancellation deadline. All cancelled rooms will return to the FMEA blocks until December 16, 2024.
w Please do not reserve a room outside of the FMEA blocks! To receive discounts for the ballrooms we use for all-state rehearsals, we must fill most of our allotted room blocks. If we do not meet our required minimum number of hotel nights sold, we will need to raise conference registration rates to compensate for the added cost of the rehearsal space.
All-State COncerts
Attendee Concert Tickets
Registered conference attendees, such as directors, chaperones, students, and administrators registered as part of your conference registration, will be admitted to all all-state concerts with their conference badge. Purchased tickets are necessary for other family or friends attending only the concert.
All-state concerts are now sold exclusively online through the FMEA conference ticket sponsor: TeachTix. Directors should send the following link to the parents or guardians of their allstate students who may need to purchase tickets: FMEA.org/ Conference/Tickets/
Ticket Sales
Tickets are 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 friends who will be attending their concerts. Send them this link instead: FMEA.org/Conference/Tickets/.
Tickets will go on sale in September, and can be purchased anytime up until 30 minutes after the start time of the concert.
Tickets purchased will be emailed to the purchaser and can be printed or stored on their phone. The barcode will be scanned at the door to validate a ticket’s authenticity and to gain entrance to the concert.
No Refunds. Tickets may be exchanged for another concert or transferred to another person using the online ticket sales portal only.
Signs with QR codes will be posted at the conference for purchasing tickets at the door with your smartphone.
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.
Concert Reentry Procedure
Frequently Asked Questions
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.
Can I buy extra tickets anytime?
Anyone can purchase tickets online. Electronic tickets will go on sale in September and sales will close 30 minutes after each concert’s scheduled start time. Paper tickets will be sold at the FMEA registration desk during its regular open hours on Thursday through Saturday.
Once a ticket’s barcode is scanned to gain entry, that ticket is marked as “used” and will no longer be eligible for another entry into the concert. Attendees who need to exit and reenter the concert should be prepared to show their ticket and a photo ID to confirm they are the ticket owner to gain reentry into the concert hall.
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.
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-state students, registered chaperones, collegiate student members, retired members, and VIP guests that you entered as part of your conference registration.
2. All nonregistered (NONBADGED) attendees (parents, family members, guests, etc.) are required to purchase tickets for any all-state concert they wish to attend.
3. There are no “free” or “allotted” tickets. All concert attendees must either wear their conference badge or purchase a ticket.
4. Tickets will be electronic and sold online utilizing a mobile-friendly website. The link will be available on the conference website well in advance of the conference, and directors are encouraged to share the link with all of their all-state students and their parents or guardians. On site at the conference, the links and QR codes will be posted on signs in the venue so attendees may purchase tickets using their smartphones. Anyone who wishes to attend a concert can purchase an electronic ticket online anytime up until 30 minutes after the concert’s published start time.
5. 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. Any directors who still wish
All-Ticket Sales Are Final. No Refunds.
Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window. Exchanges may only be made through the online portal.
Note: No concerts will be held in the Straz Performing Arts Center.
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.
6. Paper tickets will be on sale at the registration desk on site at the conference for attendees who would like to pay by cash or who do not want to use electronic tickets. Paper ticket sales for all-state concerts will begin on Thursday morning and continue Friday and Saturday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person purchasing these tickets. If a concert starts after the registration desk is closed, only electronic tickets will continue to be sold for that concert.
7. 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.
8. 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 5:30 pm concert that features both the Treble Chorus and Mixed Chorus or the 6:30 pm concert that features the Middle, Concert, and Symphonic Bands.
All-State Rehearsals
All-State Concert Band
Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 6:30pm
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:
w Register for the conference, either via preregistration or on site.
w 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.
w 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.
Policies
Code of Conduct
FMEA is dedicated to providing a positive environment of respect and civility for all attendees, including members, 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 convention 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, pandemic, 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 responsible 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 consider 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 conference 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.
Photographic Release
By attending the conference and/or associated activities, you grant permission for FMEA to use any and all photographic 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.
Security Procedures
The Florida Music Education Association works with the Tampa Police Department and Allied Security at the Tampa Convention Center (TCC) to enhance the conference experience for the students and attendees.
Great News!
In order to help keep attendees safe, there will be a heightened security presence throughout the 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.
Please be prepared for random bag and/or purse searches. It is encouraged, if at all possible, to use a clear bag, similar to those used at sporting events, for entrance.
All-State Conductors
Mrs. Nancy Beebe
Middle School Honors Orchestra
Saturday, January 11, 2025, 11 am
Marriott Water Street, Grand Ballroom
Ms. Kalena Bovell
All-State Concert Orchestra
Saturday, January 11, 2025, 2:30 pm
Tampa Convention Center, Ballroom A
Ms. Mary Biddlecombe
All-State Elementary Chorus
Thursday, January 9, 2025, 1:30 pm
Tampa Convention Center, Ballroom A
Mr. Kenneth Boyd High School Honors Big Band
Dr. Tucker Biddlecombe
All-State Reading Chorus
Saturday, January 11, 2025, 8:45 am
Tampa Convention Center, Ballroom A
All-State Elementary Orff Ensemble
Friday, January 10, 2025, 1 pm
Tampa Convention Center, Ballroom A
Friday, January 10, 2025, 7:30 pm
Dr. Jason Max Ferdinand
All-State Concert Chorus
Saturday, January 11, 2025, 11 am
Tampa Convention Center, Ballroom A
All-State Middle School Jazz Band
Friday, January 10, 2025, 7:30 pm
Marriott Water Street, Grand Ballroom
Dr. Trent R. Brown
All-State TTBB Chorus
Saturday, January 11, 2025, 8:45 am
Tampa Convention Center, Ballroom A
All-State Middle School Mixed Chorus
Friday, January 10, 2025, 5:30 pm
Tampa Convention Center, Ballroom A
Middle School Honors Band
Saturday, January 11, 2025, 2:30 pm
Marriott Water Street, Grand Ballroom
All-State Guitar Ensemble
Thursday, January 9, 2025, 12:30 pm
Marriott Water Street, Grand Ballroom
Mr. Evan Billings
Dr. Emily Williams Burch
Mr. Mike Kamuf
Mrs. Tamara Lewis
Mr. Glen McCarthy
Dr. Devan L. Moore
All-State Middle School Band
Saturday, January 11, 2025, 6:30 pm
Dr. Verena Mösenbichler-Bryant
All-State Intercollegiate Band
Friday, January 10, 2025, 4 pm
Marriott Water Street, Grand Ballroom
All-State SSAA
Friday, January 10, 2025, 7:30 pm
Tampa Convention Center, Ballroom A
Saturday, January 11, 2025, 11 am
Saturday, January 11, 2025, 6:30 pm
Dr. Douglas L. Phillips
All-State Symphonic Band
Dr. Kyle Prescott
All-State Concert Band
Tampa Convention Center, Ballroom A
Dr. Andrea Ramsey
Chorus
Dr. Marguerite Richardson
High School Honors Orchestra
Marriott Water Street, Grand Ballroom
Dr. Hillary J. Ridgley
All-State Middle School Treble Chorus
Friday, January 10, 2025, 5:30 pm
Mr. Bingiee Shiu
All-State Middle School Orchestra
Saturday, January 11, 2025, 2:30 pm
Tampa Convention Center, Ballroom A
Mr. Bruce Walker
All-State Symphonic Orchestra
Saturday, January 11, 2025, 2:30 pm
Tampa Convention Center, Ballroom A
Mr. Dan Wooten
High School Honors Band
Saturday, January 11, 2025, 2:30 pm
Marriott Water Street, Grand Ballroom
Student Experiences at the Conference
Jameyel “J. Dash ” Johnson
Keynote Speaker and One-on-One Interview With Fred Schiff, Florida Corporate Partners Chairman and NAMM Dealer of the Year
Jameyel “J. Dash” Johnson is a multi-platinum rapper, songwriter, music producer, engineer, and award-winning film composer. He also holds a degree in computer science from the University of Florida.
Although having already amassed an impressive collection of musical material over the years, J. Dash’s pulse-pounding dance sensation “WOP” is RIAA certified multi-platinum. He is the founder of SlapDash Productions, a boutique firm specializing in music production and sync licensing for TV and film. He moved to Austin in 2018 to help build the company Everlywell (now Everly Health).
DIRECTORS, STUDENTS, & CHAPERONES—
Join Jameyel “J. Dash” Johnson for Orchestrating Success: Careers in Music for Your Students
Thursday, January 9, 2025, 4:15 pm
TCC, Room 111
In today’s rapidly evolving social, commercial, and workforce landscape, the benefits of music education extend beyond the traditional performance and education career pathways. This session, presented in collaboration with the NAMM Foundation, features Jameyel “J. Dash” Johnson and other Florida Corporate Partners and music industry executives.
Currently, J. is a director of engineering with Everly Health, is on the board of directors of the Long Center for Performing Arts, the RISE Center for Liberation, and MOON Ultra Light, and is a national advocate for music education with the NAMM Foundation
In addition to giving the keynote address for the FMEA Student Conference and Tri-M Experiences, J. will participate in a panel discussion on the many careers available in the music industry.
Student Conference Experience students must be with chaperones at all times.
Events in bold are required.
THURSDAY, JANUARY 9, 2025
9 am SCE Session: Opening Kick-Off Meeting With J. Dash! TCC, Room 417
10:30 am FMEA FIRST GENERAL SESSION
TCC, Ballroom A
11 am Lunch on your own/exhibits
1 pm Mini Concert: USF Clarinet Choir
3 pm SCE Session: Leadership and Advocacy
TCC, Room 417
Clinician: Michael Antmann
5 pm FMEA College Night
TCC, West Hall A
There are many great concerts on Thursday evening. We encourage you to attend at least one:
6:30 pm UWF Singers
9 pm Voctave
9:15 pm UNF Wind Ensemble
FRIDAY, JANUARY 10, 2025
9 am FMEA SECOND GENERAL SESSION
TCC, Ballroom A
10:30 am SCE/Tri-M Session: Careers in the Arts
TCC, Room 417
11:30 am Lunch on your own/exhibits
2:45 pm
SCE/Tri-M Session: Conference Wrap-Up and the Way Forward!
Presenter: Charlene Cannon
TCC, Room 301
Component News
FLORIDA ORCHESTRA ASSOCIATION
Laurie Bitters President
Looking Back and Looking Forward: Highlights From 2024 and Exciting Upcoming Events
Wewere all looking forward to connecting at the FOA/FLASTA 2024 Fall Conference, but due to the anticipated impact of Hurricane Milton, we made the difficult decision to cancel this year’s event. This decision was made to prioritize the safety and well-being of our members, and we appreciate your understanding.
Looking ahead, the conference planning committee will convene in February to begin preparations for the next conference. We welcome your input and encourage you to start brainstorming innovative ideas for sessions at the 2025 Fall Conference—we are eager to hear from you!
All-State Auditions and Upcoming FMEA Conference
A massive thank you goes out to the dedicated individuals who volunteered their time to adjudicate the all-state auditions. Congratulations to all the students who participated, and a special shout-out to the teachers who tirelessly support these students every day. Your commitment to your students’ musical growth is appreciated, and we are all eagerly anticipating the incredible performances at the 2025 FMEA Professional Learning Conference in January.
By now, the audition results should be posted, and preparations for the January conference are well underway. If you no longer require all of the hotel rooms you reserved in September, please remember to cancel any extra rooms by 5 pm on November 9. If you do not cancel by the deadline, you will be charged for one night per room still on hold.
For those attending the January conference, pre-registration closes at midnight on December 13. If paying by check, please ensure that payment is postmarked on or before December 13. After this date, registration prices will increase, so take advantage of early registration while you can.
All-state orchestra coordinators will be mailing music to schools in December, just before winter break. Keep an eye out for the arrival of music for your all-state students—it’s sure to be an exciting time as they prepare for this special event!
Navigating the School Year
I hope your school year is going smoothly. This time of year often brings its own set of challenges with holidays, teacher workdays, and other disruptions that make it difficult to maintain momentum in the classroom. For those juggling multiple teaching responsibilities, I know the workload can feel overwhelming, but your dedication does not go unnoticed.
Please remember that your efforts have a lasting impact. The love of music you share with your students every day instills in them a lifelong passion that extends far beyond their time in your classroom. You are shaping not just musicians, but future music lovers—and that is a gift that will resonate for years to come.
Important Dates to Remember
w November 9, 5 pm – Hotel Room Cancellation Deadline
w November 12 – Credit Cards Charged for One-Night Deposit on Rooms Still Reserved w December 16 – Unsold Rooms in FMEA Hotel Blocks Released
tributed significantly to what is already a remarkably busy month. November is upon us and should bring milder weather
and a bit of a reprieve on our performance schedules. November is also a time to reflect and be thankful. Take time to focus on all the positive things happening in your life. I am thankful for a supportive administration, respectful students, and a loving family. I am also thankful for colleagues who are supportive and encouraging.
It is time to start preparing for the FMEA Professional Learning Conference.
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Sandra Sanchez Adorno, PhD President
Florida College Music Educators Association is committed to supporting university faculty in Florida through professional development, opportunities for collaboration, and funding for creative projects and teaching resources. This year, we have several exciting new initiatives in addition to our existing ones. First, we proudly announce our new Residency and Resource Pilot Grant. This pilot initiative invites an expert on a certain topic in music education to a chosen higher education institution in Florida. The visiting scholar will visit a Florida college campus during the spring 2025 semester and provide three or four sessions on a united topic that will then be recorded and stored on the FCMEA YouTube channel. Please visit our website (FCMEA.org) for more details and application procedures. Second, our professional development committee is beginning to brainstorm initiatives to support our membership regarding promotion and post-tenure review.
In addition to our new pilot grant and promotion initiatives, we continue to offer the Creative Explorations Grant for all active members. Our December deadline is quickly approaching, so be sure to submit your ideas to fund your research and creative activities. Further, our mentorship program is looking for both mentors and mentees—sign up now! Lastly, with the state conference quickly approaching, be sure to check out our three FCMEA-sponsored sessions, our Thursday evening general business meeting, and the Collaborative Connections in Higher Education Meeting on the Saturday morning of the conference. Please visit our website for more details regarding upcoming meetings, events, and deadlines.
FLORIDA BANDMASTERS ASSOCIATION
Jeff Cayer, EdD President
This event is always a highlight of my year. Meeting up with friends and making new ones is a huge part of how we support each other in this profession. So much learning happens, not only in the clinic sessions and concerts, but in the hallways and restaurants. Make it a point to engage in meaningful conversations to share your thoughts and expand your mind. I learn so much during these sessions!
Initial and renewal adjudication workshops will take place on Wednesday, January 8, 2025. Don’t let your adjudication approval status expire. Adjudicator workshops are open to anyone who would like to attend. Do you want to learn more about the process? You do not need to be a current adjudicator. Join us.
FBA has a lot of fantastic sessions and concerts scheduled for the FMEA conference, featuring talented educators from Florida and beyond. The clinics sessions include everything you need ranging from beginning band pedagogical skills to artistry sessions for the most advanced ensembles. Do you want to know how to make your clarinet section sound great? We’ve got that session. Do you want to expand your ensemble’s expressive and artistic potential? We’ve got that session too! Download the FMEA app and start bookmarking your favorite sessions and concerts.
The online hotel registration seemed to expediate the arduous task of Saturday morning phone reservations. If you did not get hotel reservations, don’t stress! Many additional rooms become available after the all-state results are posted and again after the cancellation deadline on November 9.
Do not forget to take time to give thanks for all of the great things happening in your life. Thanksgiving break is coming soon!
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Ashley Peek President
With our annual conference just around the corner, I am very excited about what is to come! The Florida Elementary Music Educators Association has another impressive lineup of clinicians coming to share their magic with our students and us.
Our first headliner, sponsored by Peripole, is Dena Byers from North Carolina. Dena teaches K-5 music in Durham and serves as a lead elementary music teacher. She has taught for Durham Public Schools since 1997. She is national board certified and has been honored by being a top four finalist for District Teacher of the Year and receiving the N.C. Symphony’s Jackson Pankhurst Award for Special Achievement in music education. She is the artistic director for the Durham Children’s Choir (DCC) and has been with the organization since its founding in 2004. An active member of the American Choral Directors Association and the American Orff-Schulwerk Association, Mrs. Byers has been a guest conductor for allstate honors choirs in Florida, Mississippi, South Carolina, and Tennessee, as well as district all-county choirs in North Carolina, Georgia, Florida, and Alabama. She has presented workshops for Orff Schulwerk chapters throughout the United States and at National AOSA Professional Development Conferences. Dena is an AOSA-approved teacher educator and currently teaches Level II Orff Schulwerk at the University of Memphis.
From Process to Product: An Orff and Choral Breakdown
This session will focus on a variety of ways to teach, rehearse, review, and memorize in order to create the most impactful musical moments in the choral rehearsal and use Orff instruments to accompany your chorus.
Turn the Beat Around: From Body Percussion to Orff Instruments and Drums
Participants will explore the developmental process of coordination, pulse, and rhythm through the transfer of speech to body percussion to Orff instruments, recorders, drums, and unpitched percussion instruments.
Our next headliner, sponsored by West Music, is Katie Traxler from Tennessee. Katie teaches K-5 music at Gateway Elementary in Metro Nashville Public Schools, where she incorporates chorus, Orff and recorder ensembles, keyboard, and ukulele instruction into her weekly program. Committed to collaboration and arts integration, Ms. Traxler works closely with the classroom teachers to maintain a rich curriculum integrating music, movement, drama, and visual art within the social studies, math, and ELA content across all grade levels.
‘Looking Like Me’—Exploring Our Identity Through Movement and Music
Using the text from “Looking Like Me” by Walter Dean Meyers as a springboard, we will explore how to create a caring and respectful classroom community by sharing the favorite parts of our identities through individual and group movement, speech, body percussion, and instrumental accompaniment while focusing on elemental forms.
It’s All About Me and You—Building Community Through the Orff Approach
Experience a variety of ways to build a supportive classroom community using the Orff Schulwerk approach. We will sing, chant, move, and play instruments as we lay a supportive foundation that will encourage young musicians to become risk takers in our music-making while finding their own voice.
Component News
Embracing Thankfulness
Folks
… we are almost there! I. Can’t. Wait! We are entering my favorite time of year. A time when everything is cooked with brown sugar, baked and covered with ice cream, or roasted and smothered in gravy. A time when the temperature outside starts to drop just below sweltering. A time when people remember it’s cool to be kind to others, even if only in that southern “bless their little hearts” sort of way. This month, it’s especially exciting to see the ways people choose to demonstrate a spirit of gratitude or thankfulness amidst the ongoing hurricane recovery efforts and impending election chaos.
As you continue your journey as future music educators, the theme of thankfulness can serve as a powerful guiding principle in your teaching philosophy. In a world that often feels fast-paced and demanding, and while completing a degree program that is often overwhelming, cultivating a mindset of gratitude can transform both your experience and that of your future students. Thankfulness is about recognizing and appreciating the
beauty in our journey. Each time you sit down to practice, teach a lesson, or collaborate with peers, take a moment to reflect on that for which you are thankful. Maybe you’re thankful for tangible things like your family and friends, that you have access to resources you need to be successful, or that you have necessities like food, clothing, and shelter. Perhaps it’s the more intangible things for which you are most grateful: freedom, safety, peace, love. Whoever you are, wherever you are, and whatever your circumstance, if you are reading this message, it’s HIGHLY likely you, indeed, are fortunate and have many reasons to give thanks.
Let that marinate a bit.
By modeling this attitude of gratitude, you encourage your students and others with whom you interact to find gratitude in their own experiences. Music education offers a unique opportunity to instill this spirit of thankfulness. Celebrate your progress, whether big or small. Acknowledge the hard work that goes into mastering your craft, preparing for a performance, or participating in group
Help Us Support Music Education in the Schools!
Donate today for a stronger tomorrow.
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD Advisor
activities. By fostering an environment where accomplishments are recognized and appreciated, you’ll create a space where your students and colleagues feel valued and motivated.
As you prepare to take on the role of a music teacher, remember that your influence extends beyond the classroom. Teachers never stop teaching! You have the power to model compassion and gratitude for your students and colleagues, and by doing so, you teach them to be grateful and compassionate also. Encourage them to express appreciation not only for their musical accomplishments but also for the friendships, mentorships, and experiences they have had that shaped them into the unique individuals they are.
As we enter the last few weeks of this semester, embrace the challenges that come your way with a thankful heart. Every obstacle is an opportunity for growth and learning, so be thankful for those experiences. Oh, and register for January’s FMEA Professional Learning Conference. You’ll thank me later!
FLORIDA NAfME COLLEGIATE
Megan Robichaud President
Our Love for Music
by Jason Lane
It’s finally November when the temperature oddly feels warmer in Florida, but the spirit of the holidays still exudes from each of us. This is a time for fellowshipping and looking back at everything you’ve accomplished this year as an educator or a student. It is also a time to humble yourself and be grateful for being able to experience life and the wonders it brings … like music.
As we take this month to reflect, it is crucial to understand that our love for music is what has brought us this far. As a current undergraduate student, my purpose for attending school is to expand my understanding of music and to acquire the ability to teach future musicians how to love and understand music similarly to my peers. Some of my peers’ reasons may vary somewhat, but the root of it all is likely their appreciation for music.
The beauty of this fact is that most of us can pinpoint the moment or period when we first wanted to enter music education. Take a second and recall that moment. What did you feel? Who had a significant influence on you? How did you start your journey to get to where you are now? Can you look back and say you’ve improved a tremendous amount? When I joined my high school band, I knew I was destined to go into music education. My band directors had an unmatched passion for the craft of music, and they treated every student like family, no matter how hard times got. At Florida A & M University, as principal saxophone section leader, I try to share the amount of love, knowledge, and passion that I picked up from my band directors with my section because music is a gift to earth that has the potential to change lives in ways we can’t even imagine.
As we go into the holidays, remember not to take the moments we are given for granted. We are blessed to be able to wake up and continue to pursue music as a hobby, a career, or an interest. We are blessed to have positive influences that motivate us to keep pushing forward no matter what obstacles may stand in our way. We are blessed to be able to join organizations such as NAfME or FMEA that surround us with other like-minded individuals who take music, as well as the other arts, just as seriously as we do.
Go NAfME!
Jason Lane is a third-year music education scholar at Florida A & M University, hailing from Atlanta, Ga. He serves as the FAMU NAfME secretary and Florida intercollegiate president-elect. As an initiate of the Delta Iota Chapter of Kappa Kappa Psi, he also serves as the principal saxophone section leader and is the first vice president of the FAMU Bands.
ResearchPuzzles FOR MUSIC TEACHERS
William I. Bauer, PhD FMEA Research Committee Chairperson, University of Florida
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
Experienced Music Teachers’ Perceptions of Professional Development
Research on the professional development (PD) of music teachers has grown significantly since the mid-1990s, with a variety of studies highlighting key themes. For new teachers, studies have consistently found that they require content-specific support, guidance beyond “survival” skills, and mentoring that is prepared and sustained. On the other hand, experienced teachers benefit from PD that is tailored to their unique needs, emphasizing autonomy, relevance, and opportunities for reflection. The research discussed in this article (Conway, 2022) is part of a longitudinal series of studies (Conway, 2001, 2012) that have explored the professional development perceptions of a group of nine music teachers from the start of their careers through more than 20 years of teaching. This phenomenological research, which aims to understand human experiences from the perspective of the individuals living them, involved nine music teachers who reflected on their professional development experiences, with a focus on how professional development had changed or remained consistent during their careers. The central research question guiding the study was: What can experienced music teachers tell us about the PD needs and experiences of both new and experienced teachers?
Methodology
A modified phenomenological interview design, which included both individual interviews and a focus group interview, was used. The study participants had previously been involved in Conway’s research on mentoring and induction programs for new teachers 20 and 10 years prior to this study, allowing them to provide reflections on how their perceptions of PD had changed over time. The interviews were structured around key themes such as new teacher support, forms of PD, and emerging topics like diversity, equity, inclusion, technology, and trauma-informed pedagogies.
Data Collection and Analysis
Data were collected through in-depth interviews, focus groups, and reflections on past studies in which the participants had been involved. These interviews were recorded, transcribed, and coded multiple times to identify recurring themes and
insights. The analysis was informed by both the participants’ reflections on past studies and the evolving landscape of professional development for music teachers. The use of triangulation (collecting data from multiple sources), member checks (having participants review findings), and researcher expertise (Conway’s long-standing relationship with the participants) helped ensure the study’s credibility.
Results/Findings
The findings of the study are organized into three main categories: new teacher support, forms of PD, and emerging topics in PD.
1. New Teacher Support: The participants emphasized that support for new music teachers has remained inconsistent over the past 20 years. Many noted that while there have been attempts at structured mentoring and induction programs, these efforts often lack consistency, particularly in terms of mentor preparation and music-specific support. New teachers continue to struggle with selecting ensemble literature, classroom management, and lesson planning, all areas where they need more targeted help. Additionally, well-funded programs in wealthier districts offer better mentor-mentee interactions, highlighting disparities in access to PD resources based on geography and funding.
2. Forms of PD: The participants described informal interactions with colleagues as some of the most valuable forms of PD. These interactions often occurred at conferences, concerts, or during mealtimes, where teachers could exchange ideas and experiences. However, the effectiveness of these informal interactions depended on whether the teachers involved shared similar teaching contexts. Teacher choice in PD was also identified as crucial. The participants valued opportunities to select their own PD experiences, such as attending workshops or inviting guest teachers to their classrooms. Many also discussed the importance of teacher leadership, with mentoring new teachers, presenting at conferences, or serving on committees as valuable forms of PD.
3. Emerging Topics in PD: The participants highlighted several emerging topics within PD, including diversity, equity, and inclusion (DEI); technology; and trauma-informed
pedagogies. DEI has become a significant focus, with participants discussing the need for more inclusive practices in music education. Some mentioned frustration that progress in these areas has been slow, particularly in state-level music organizations. Technology has also become an important aspect of PD, particularly with the increased use of digital tools in the classroom. However, access to technology and resources varies widely, with teachers in less affluent districts feeling left behind. PD on trauma-informed pedagogies and social and emotional learning (SEL) was seen as increasingly important. While many participants found their PD opportunities valuable, they noted that successful implementation requires ongoing support and resources, which are often lacking.
Implications for Music Educators
Conway’s (2012) study has several key implications for music educators and those involved in designing PD programs:
1. Increased Consistency in New Teacher Support: There is a need for more consistent and structured support for new music teachers, particularly in the areas of mentoring and content-specific guidance. Programs should be designed to provide sustained, meaningful interactions between mentors and mentees.
2. Tailoring PD to Contexts: PD programs need to be tailored to the specific needs of different teaching contexts. Teachers in rural, urban, and suburban districts face different challenges, and PD should reflect these differences rather than offer a onesize-fits-all approach.
3. Promoting Teacher Leadership: Providing opportunities for teachers to lead, whether through mentoring, presenting at conferences, or serving on committees, can be a powerful form of professional development.
4. Supporting Emerging Topics: As new challenges emerge, such as the need for DEI, technology, and trauma-informed practices, PD must evolve to provide teachers with the resources and support they need to address these issues effectively.
References
Conway, C. (2001). Beginning music teacher perceptions of districtsponsored induction programs. Bulletin of the Council for Research in Music Education, 151, 51–62.
Conway, C. (2012). Ten years later, experienced teacher reflections on “Beginning Music Teacher Perceptions of District-Sponsored Induction Programs” (2001). Bulletin of the Council for Research in Music Education, 193, 63–76. https://doi.org/10.5406/bulcouresmusedu.193.0063
Conway, C. M. (2022). Perceptions of experienced music teachers regarding new and experienced teacher professional development. Bulletin of the Council for Research in Music Education, 232, 45–63. https://doi.org/10.5406/21627223.232.03
Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.
Committee Reports
Inthis 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 FMEA. Your FMEA Awards Program 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 nominations for the 2025 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 2025 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 2025 FMEA awardees.
As you think about all those you would like to thank this month, let’s get our monthly dose of gratefulness and inspiration from our 2024 FMEA Leadership Award for Music Education recipient and FVA Executive Director Michael Dye. ➤
2024 FMEA Leadership Award for Music Education…
AWARDS COMMITTEE
Sondra A. W. Collins Chairperson
Michael Dye
“I retired in 2020 after more than 40 years as a choral music director. While I was a teacher, I saw the huge impact that music education had on students, my school, and our community. I believe the discipline it takes to be a student musician made my singers more successful, not only in school, but as adults. More important than the things that we can see and the things we can measure are the rewards that cannot be described in a course content guide. Most people have the desire to create and to express. Music is often the key that opens the door for students to be creative, across many parts of their everyday life.
Teaching music is one of the best jobs in the world! Knowing that the only reason some students get up and go to their classes all day is so they can be in your music class should motivate us to do a better job than we are already doing. Throughout most of my career, I had the privilege of teaching and conducting choirs all day long, but my favorite group was my after-school chorus, a place where the hardest working singers from all parts of the program gathered. Our mission was not just to sing, but to make music, whether we were sight-reading a 16-measure harmonic exercise or performing Palestrina motets in the St. Marcos Basilica in Venice. What made the experience for these 60 or so members so great was that they brought with them music reading, listening, and vocal skills that we taught and they embraced. Yes, they were talented and had some of the best middle school teachers in America, but the key to what they were able to accomplish was built on the skills they had learned.
I would be lying if I told a young teacher that teaching music is easy. But our professional organizations are here to help you! And so are the others who make up the family of music teachers around you. Accept help and advice. But remember, there is nothing that will take the place of dedication, hard work, patience, perseverance, and time.
To those who touch the lives of our music students every day—thank you.
DIVERSE LEARNERS COMMITTEE
Christine Lapka, EdD Chairperson
FMEA Professional Learning Conference 2025: Beyond the General Music Classroom
Get prepared for approaches to help you meet the varied needs of students in your classrooms (band, orchestra, choir, piano, and elementary general music). Music teachers should attend the conference to stay at the forefront of inclusive and innovative education practices. Attendees will explore creative strategies for student engagement, learn how to integrate nonverbal students in music activities, and embrace diverse educational approaches like universal design for learning (UDL), teaching English to speakers of other languages (ESOL), and music therapy. Sessions on teaching neurodivergent learners and incorporating Latin American songs and games will enrich educators’ repertoires, enabling them to create inclusive, dynamic music-making experiences. Look for these sessions and others in the conference program. Join us in Tampa for professional growth and networking opportunities!
PRE-CONFERENCE: Charms and Challenges of Students With Disabilities in Title I and Rural Schools
Assistive Devices in the General Music Classroom
Bridging the “What” to the “How”: Adaptive Strategies for Music-Making
Embracing Everyone: Inclusive Teaching in the Group Piano Setting
Including Nonverbal and Non-Speaking Students in General Music Classes: From Self-Contained to Fully Inclusive Settings
Christine Lapka, Cody Puckett
Rachel Grimsby
Edward J. Ercilla, Adam Chitta, Cody Puckett
Diana Dumlavwalla, Emily Gilbertson, Xixi Shen
Emily Lambert
Incorporating UDL in Music Lesson Plans multiple presenters
Learner-Centered Music Education: A Path Forward for Twice-Exceptional Students
Dawn Mitchell White Making Music Literacy ACCESSible: Building an Environment for Independent Musicianship for Every Student
MEaningful Collaboration: Supporting Students With Disabilities (Choir)
Multiple Abilities in One Ensemble: How Do You Do That? (Band/Orchestra)
Music Therapy: Expanding Its Presence in Music Education
Teaching Music to ESOL Elementary Students: Simplified Strategies for Success
Supporting Neurodivergent Learners in the Choral Rehearsal
Maggie Smith
Kyra Stahr, Maxwell Trombley
Christine Lapka, Cameron Cummins
Mark Belfast, Andrew Dubbert, Lori Gooding
Julio Morales
Peter Haley
¡Vamos a jugar! Let’s Learn Different Latin American Songs and Games Ani Silva-Berrios
Partners as of October 7, 2024.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
PARTNERS
BRONZE PARTNERS
FLORIDA MUSIC EDUCATION
ASSOCIATION 2024-2025 DONORS
Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.
Our donors support specific causes by donating to the FMEA funds of their choice:
FMEA Scholarship Fund
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, 2024, through October 7, 2024.
MAESTRO’S CIRCLE
$10,000 and up
No current donors at this time.
SUSTAINERS
$100 – $999
Carlos Abril
In Honor of Dr. Alice-Ann Darrow
Lucinda Balistreri
In Honor of Sarasota County Music Educators
Trent Brown
In Honor of J. Mark Scott
Dale Choate
In Honor of R. Wayne Bailey
Alice-Ann Darrow
In Memory of Mr. & Mrs. O.B. Darrow
Virginia Dickert
In Memory of Debbie Liles & Lindsay Keller
William Fredrickson
Marsha Juday
Steve & Beth Kelly
Sheila King
Jason Locker
In Memory of June M. Hinckley
Joseph Luechauer
ARTIST’S CIRCLE
$1,000 – $9,999
Frank Howes
In Memory of Vashti Jordan Howes
Louis Schiff
Deborah Mar
In Memory of Barbara Kingman
Carolyn Minear
In Memory of Alice Fague
John Nista
In Memory of Stanley Dmitrenko
Douglas Phillips
In Memory of Dr. Bobby Adams
David Pletincks
In Honor of My Children
Clinton Randles
Jeanne Reynolds
In Honor of Pinellas County Performing Arts Teachers
Mary Catherine Salo
In Memory of Gary Rivenbark & Wes Rainer
Kathleen Sanz
In Memory of June M. Hinckley
J. Mark Scott
In Honor of Jason Locker, Dr. André Thomas, Dr. Judy Bowers, & Dr. Judy Arthur
D. Gregory Springer
Harry Spyker
In Honor of Fred & Marlene Miller
Jeannine Stemmer
In Memory of Barbara Kingman & Lauren Alonso
Leiland Theriot
In Memory of Clayton Krehbiel
Rebecca Traenkner
On Behalf of the Hillsborough County
Elementary Music Educators Council
Richard Uhler
PATRONS
$25 – $99
Sandra Adorno
Meghan Alfaro
Maria Athanasulis
Sasha Aufschneider
In Memory of Michael Aufschneider
William Bauer
In Honor of My Colleagues, Present & Past
David Bayardelle
In Dedication to Dr. George Sparks
Kasia Bugaj
Greg Carswell
William Castillo
Jeff Cayer
Zachary Chowning
Dayna Cole
In Memory of Linda Mann
Debbie Fahmie
Bradley Franks
In Memory of Gary W. Rivenbark
Anna Marie Friars
In Honor of Dr. Clifford Madsen
FRIENDS
up to $24
Bryan Alspach
Crystal Berner
Laurie Bitters
Ernesta Chicklowski
On Behalf of Roosevelt Elementary Musicians
Jennifer Corzine
Christopher Dunn
Tina Gill
In Memory of Gary Rivenbark
Angela Hartvigsen
Peter Waidelich
Howard Weinstein
In Memory of Barry Weinstein
Kenneth Williams
Anonymous (1)
In Memory of Claude Dobbins
Rebecca Hammac
Cynthia Heidel
Marsha Kindall-Smith
Christine Lapka
Craig Lilly
David Martinez-Cooley
Amelita McGrath
Katie McGuire Menges
Jessica Moore
In Honor of Dr. Nancy Barlar
Mark Morette
Harry Pardee
In Honor of Harry & Anne Pardee
Edward Prasse
Marie Radloff
In Memory of Charles F. Ulrey
Rudolf Radocy
Sean Rees
Diana Rollo
Thomas Silliman
In Honor of Dr. Tom Silliman, Sr.
John Southall
Kelly Southall
Eddie Steadman
Mark Stevens
In Honor of Dr. Clifford K. Madsen
Phil Tempkins
In Memory ofSue McCray
Valerie Terry
David Verdoni
Matthew Weihmuller
Sondra Wenninger Collins
Lindsey Williams
Anonymous (6) In Honor of Columbia County Music Teachers
William Hazlett
Yangqian Hu
Ethan Hubbard
Jason Jerald
Kathleen Kerstetter
Lu Anne Leone
John Marshall
Matthew McCutchen
In Honor of Dr. John Carmichael
Anthony Moore
Ian Schwindt
Gary Smith
Andrea Szarowicz
Anonymous (11)
In Memory of Ernest O. Hebson
ExecutiveDirector’sNotes
The mission of The Florida Music Education Association is to promote quality, comprehensive music education for all Florida students as a part of their complete education.
FMEA Can Help!
FMEA Executive Director
Kathleen D. Sanz, PhD
FMEA’s thoughts are with all of you who were affected by Hurricane Helene and/or Hurricane Milton. We are aware of the devastation throughout the state of Florida and want to provide assistance where possible. FMEA has developed a clearinghouse for Florida’s music programs that were affected by the hurricanes. Submit a help request and your needs will be posted on the FMEA website and shared with our Corporate and Academic Partners, advertisers, exhibitors, and other friends of music education across the country. We will also be using these requests to guide the disbursement of finds that have been donated to the Mel and Sally Schiff Music Education Relief Fund.
Stay safe and let us know how we can help.
2025 FMEA Professional Learning Conference
Music Education Begins with ME!
Preregistration is open for the 2025 FMEA Professional Learning Conference Music Education Begins with ME. Be sure to watch the FMEA website (FMEA.org/conference) to take advantage of this excellent conference in Tampa, January 8-11, 2025. FMEA leadership and staff are looking forward to seeing everyone in January.
The FMEA hotel block is open. Please note that the deadline to cancel an unneeded hotel room is November 9, 2024, at 5 pm, after which time your credit card will be charged for the first-night stay. See more information in this magazine.
Advocacy and Government Relations
VOTE! VOTE! VOTE!
Remember that it is critical to let your voice be heard on November 5, 2025, in the national, state, and local elections.
In addition, there are several very important FMEA elections: president-elect for the remainder of the 2024-2025 election cycle and president-elect for the 2025-2027 FMEA Board of Directors. The component president-elect for FEMEA, FMSA, FOA, and FVA will be elected during the 2025 FMEA Conference.
FMEA Committees
In addition to the strong leaders in our component organizations, there are more than 12 committees focused on specific aspects of music education to move FMEA forward. Review the list of committees on page 51 of this magazine and if you are interested in participating in one of the FMEA committees, let the committee chairperson know. We encourage FMEA members to engage in the association’s activities. So volunteer!
Looking forward to seeing you in January at the FMEA Professional Learning Conference and All-State Concerts.
Musically,
Kathleen D. Sanz, PhD
FLORIDA MUSIC EDUCATION ASSOCIATION
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
Harry “Skip” Pardee Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com
FBA President Jeff Cayer, EdD president@fba.flmusiced.org
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 Megan Robichaud University of North Florida n01492523@unf.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
FOA President Laurie Bitters
Winter Park High School
2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
School of Music, KMU 330; Tallahassee, FL 32306 (850) 644-4069; skelly@fsu.edu
EX-OFFICIO MEMBERS
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
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 Benny L. Bolden, Jr., EdD laruemusic99@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
Contemporary Media
Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu
Diverse Learners
Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu
Emerging Leaders Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com
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
Professional Learning ...........................................................Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org
Research
William I. Bauer, PhD University of Florida; (352) 273-3182; wbauer@ufl.edu
Secondary General Music
Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Student 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
Exhibits Manager fmeaexhibits@fmea.org
Local Chairperson Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us
FLORIDA BANDMASTERS ASSOCIATION
President Jeff Cayer, EdD president@fba.flmusiced.org
Past President Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net
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
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
President Sandra Sanchez Adorno, PhD Florida International University; 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu
Past President Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu
FLORIDA NAFME COLLEGIATE
President Megan Robichaud University of North Florida; n01492523@unf.edu
Past President ................................................................. Colin Urbina University of Central Florida; co006947@ucf.edu
