Florida Music Director October 2020

Music and Deaf Culture

Implications of the Housewright Symposium on Teaching Music Today

PLUS: 2021 Conference Reimagined In Memoriam of A. Byron Smith and Al G. Wright Minority Within a Minority

AMPLIFY YOUR AMBITION. COMPOSE YOUR CAREER.

UNDERGRADUATE DEGREES

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BACHELOR OF MUSIC Performance Music Composition Music Theory Combination with an Outside Field

MASTER OF MUSIC Performance Music Education (campus/online) Conducting Theory Composition History & Literature Sacred Music

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Photo by Brianne Lehan / UF Photography

AUDITIONS WILL BE CONDUCTED BY PRE-RECORDED VIDEO SUBMISSIONS All Incoming Freshman

Transfer Students

January 16, 2021 January 23, 2021 January 24, 2021

March 20, 2021 Recorded auditions should be submitted by March 1, 2021

Recorded auditions should be submitted

by December 31, 2020 for review and scholarship consideration.

UF Application Deadline: Nov. 1

2 F l o r i d a

Music Director

MORE INFO: music@arts.ufl.edu or 352.392.0224

In addition to video submissions, virtual meetings with faculty and students will occur on one of the selected dates.

A detailed schedule and links to meetings will be available two weeks prior to each pre-selected date.

ARTS.UFL.EDU/MUSIC

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

Hinckley Center for Fine Arts Education

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

Contents October 2020

Volume 74 • Number 3

Editor-in-Chief

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

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu)

F E AT U R E S

Announcing a Virtual 2021 Conference. . . . . . 7 In Memoriam of A. Byron Smith. . . . . . . . . . 8 In Memoriam of Al G. Wright. . . . . . . . . . . . 10 Hindsight 2020. . . . . . . . . . . . . 12 Implications of the Housewright Symposium on Teaching Music Today

Music and Deaf Culture. . . . . . . 18

Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales Valeria Anderson (val@fmea.org)

Director of Finance and Client Relations

Richard Brown , MBA, CAE, CMP (richard@fmea.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844

Official FMEA and FMD Photographers

Bob O’Lary Debby Stubing

Art Director & Production Manager

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

D E PA R T M E N T S Advertiser Index. . . . . . . . . . . . . 4

2020-21 FMEA Donors. . . . . . 28-29

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

Committee Reports. . . . . . . . . . 30

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

Corporate & Academic Partners.. 35

Component News.. . . . . . . . . . . 24

Executive Director’s Notes. . . . . . 36

Research Puzzles. . . . . . . . . . . . 27

Officers and Directors.. . . . . . . . 37 October 2020

3

The Florida Music Education Association values the broad human diversity in the state of Florida. We are distraught and frustrated by the continued injustice and violence toward Black people in our country. Social inequality and violence, in any form, must not be tolerated in our nation. FMEA sees, hears, and supports the struggles of our teachers and students in the Black community. We are with you, and together we can and will do better to end discrimination while advocating for equality.

Advertiser Index

Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.

2020-21 FMEA Membership: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state.

The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue.

They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission.

We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.

The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication.

Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org.

ADVERTISER University of Florida...................................................................................... IFC This advertiser provides additional support to FMEA members through membership in the Corporate and Academic Partners program. This Partner deserves your special recognition and attention.

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Music Director

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

SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.

CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office.

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

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

Steven N. Kelly, PhD

President’sMessage

President Florida Music Education Association

Hope and Faith in Music Education B

ecause of Florida music educators, I have hope and faith in our profession. Despite the challenges we all encounter

every day, I want to thank each of you for the inspiration you

have given to me and to so many others. I talk to music teachers around our state every day. I understand your challenges, but

I see your efforts to keep music in music education. Please do not think that even the smallest attempt is not important. Small baby steps are not lowering standards; they are the building

blocks to your classrooms after COVID. I am so amazed at your

abilities to change and adapt, almost on a daily basis. Your efforts to create musical opportunities for your students matter.

« FMEA will be publishing the most recent cohort data from

the Florida Department of Education. This study shows the

continued positive relationship between participation in

music and academic achievement. Students who participate in music classes continue to have higher graduation rates, achieve higher SAT math and verbal scores, and have higher

satisfactory rates on the Florida FSA tests than students who

do not participate in the arts. In other words, this study fur-

ther demonstrates how music and music teachers contribute to every student’s complete education.

So many individuals are working for you. Our component

Each of you is an inspiration. I know it is easy to lose sight of

presidents and their executive directors work endlessly to create

many.

often unheralded, is so deserving of recognition for their daily

what you are trying to accomplish, but you mean so much to so FMEA is here for all of our members and is your professional

organization. Your organization offers so much for you and for your students. If you are reading this message, you are looking

at the Florida Music Director. Yeah! The FMD is one of the greatest

resources available to our members. Next, I challenge you to take

opportunities for your programs, and the FMEA office staff,

efforts. The FMEA Board of Directors and Executive Committee

do so much to guide our association to meet its mission to promote quality, comprehensive music education in all Florida schools.

As I reflect on our association, I am sad to report that two

three minutes out of your busy day and visit the FMEA website

of our past presidents have recently passed away. Information

and opportunities for you and your students. Look at what your

issue of the FMD. Al Wright was president of FMEA from 1952

(FMEA.org

). You will see a wealth of information, resources,

« FMEA is supporting social equity and social and emotion-

organization is doing for you. For example:

al learning issues throughout our membership. We will

be sponsoring webinars concerning these issues for the

« FMEA contributed funding to the International Performing well-being of our teachers.

Arts Coalition’s aerosol study to help create safer music

« FMEA supported the recently passed Early Childhood Bill, which will be a great boost for our K-3 music teachers. « FMEA will continue to push for the Florida Seal of Fine Arts learning environments.

program that will recognize your students’ commitments to participating in music classes.

on both of these remarkable individuals can be found in this to 1954. Professor Wright was 104 years old. Byron Smith was

president from 1990 to 1992. Byron, who was 76 years old, con-

tinued to serve FMEA as our conference exhibits manager right up until his death.

I am sure that Al and Byron would want FMEA to continue

to grow and to help shape music education in Florida. Their legacies provide strength to our hope and faith in Florida music

education. I am grateful for your commitment and dedication.

Thank you for your support and input into so many of our achievements and goals. FMEA is here to help you achieve your

goals. As always, please let me know if you have any questions or if FMEA can help you in any way.

Thank you again!

Steven N. Kelly, PhD, President

Florida Music Education Association

October 2020

5

AdvocacyReport

Jeanne W. Reynolds Chairwoman Government Relations Committee

VOTE!

The importance of voting in the November 2020 election cannot be overstated.

« Be an informed voter. Research the candidates. Ask them questions about their support for arts October to Do List:

education. Be sure to consult your local Supervisor of Elections’ website in addition to this state

« Don’t ignore down ballot races. Local and state elections are extremely important and will impact your day-to-day work more than national races. « Hold elected officials accountable for their track records. Vote them in or out based on their records. « Volunteer your time to work for worthy candidates. Get out the vote for candidates you believe in. « Recruit young, healthy poll workers. As a result of the pandemic, there is a need for younger site: https://dos.myflorida.com/elections/.

poll workers. Consider recruiting local college students or other healthy community members

« Make

to work the polls.

a voting plan that meets your

needs. You can choose among the follow-

TRACK YOUR BALLOT

ballot by October 5); vote in person during

vote-by-mail ballot can track online

ing options: Vote by mail (request a mail

early voting; or vote on Election Day. Make

« Vote

the decision that is the best for you.

by Mail. If you choose this

option, put your ballot in the mail no later than October 26 or better

yet, drop off your ballot at one of the secure drop boxes at your Supervisor

Any voter who has requested a the status of his or her ballot through a link within

the Division of Elections’ Voter Information Lookup or through their county

Supervisor of Elections’ website .

of Elections’ main office, a branch office, or an early voting site.

• •

Read all instructions regarding voting by mail carefully. Don’t forget to sign your ballot.

After you have dropped off or mailed your ballot, make sure to track the ballot to confirm that it was received, accepted, and finally counted.

There is no more important advocacy action step than voting. Make your vote count!

6

PAST, PRESENT, & FUTURE

Join Us VIRTUALLY FOR THE

2021 FMEA Professional Development Conference W

e are excited to announce that the FMEA Professional Development

Conference will be reimagined into a virtual online experience for

January 2021! This decision was based on many factors, with the health and

well-being of our teachers, students, parents, exhibitors, and all other attend-

ees being of the utmost importance.

We are committed to providing you the quality musical and professional

development experience that you expect from the FMEA Conference, adapted

into a flexible and easy to use online format you can experience in the comfort and safety of your own space.

Regarding All-State: The all-state and honors ensembles are an important

part of the FMEA Conference, and the audition process is a valuable educational experience for all of our students. Auditions for the All-State Bands,

Choruses, Orchestras, Guitar Ensemble, and the new Popular Music Collective will proceed as planned. Students accepted into these ensembles will be rec-

ognized for their achievement, and we are planning virtual opportunities

to provide a musical and educational experience and to encourage lifelong involvement in music.

More information will be available within the next several weeks, includ-

ing information about program offerings, dates, and costs, as well as all-state opportunities.

October 2020

7

IN MEMORIAM OF

T

A. B yron Smith December 18, 1943 - September 5, 2020

The Florida Music Education Association

is proud to honor the memory of a wellloved member of our music educators’

family, Byron Smith. He and his wife,

Bobbie, were a fixture at the FMEA Professional Development Conference,

offering their smiles and gracious assis-

tance at the registration desk as well as to everyone who entered the exhibition hall, where the couple expertly managed the

exhibits for 17 years. Byron and Bobbie shared a special bond, and Byron followed Bobbie to heaven just a month after Bobbie left this earth on August 7.

A. Byron Smith was born December

18, 1943, the third child of Audie and

Adelaide Smith of Tallahassee. He was

educated in the Leon County Schools

through

the

12

ing events at St. Patrick’s

Cathedral and Carnegie Hall

th

in New York City. In summer

grade. He received the BME

1983, he conducted the Florida

from Florida State University

Youth Chorale in concerts in

in 1966. He taught choral

Holland, Germany, London,

music at Rickards High School

and Notre Dame Cathedral in

from August 1966 through

Paris. During the early years

June 1975. He moved to the

at Rickards, he served two

new Lincoln High School as

choral director in 1975 and

terms as district choral chair-

served there until his retirement in 1996.

man. In 1970, he received a certificate of

received superior ratings at district and

University.

Throughout his career he consistently state choral festivals.

voice and the MME from Florida State From 1981 to 1987, he served the Florida

Byron produced 22 Broadway shows

Vocal Association as president-elect,

festivals and numerous concerts, includ-

he received the EdD in music educa-

and annually conducted his choirs in

president, and vice president. In 1985, tion from Florida State University. At the completion of his leadership term with FVA, he was elected by the Florida Music Educators Association to serve as president-elect, president, and vice president

from 1987 through 1993. From August

through December 1994, he served as FMEA interim executive director, keeping

the Tallahassee office together while the leadership planned the 1995 In-Service

Clinic Conference. From 1995 through 1998, he served as treasurer of FMEA.

In 1996, Byron was named Teacher

of the Year at Lincoln High School and

FMEA Music Educator of the Year.

The Florida Collegiate Music Educators

National Conference named him to

8 F l o r i d a

its Hall of Fame in 1998, and FMEA Music Director

part-time director of music at Killearn

United Methodist Church. In addition to

traditional service music, he produced 13 dinner theaters, raising over $20,000 for the choir ministry of the church.

He became full time in that position

in 1998 until his retirement in October

2009. During those years that ministry

included a 65-voice adult choir, a mixed presented him the Leadership Award in Music Education in 1999.

sweetheart, Bobbie, in 1965. They have

managed the registration desk for the

dren (Kevin and Valerie with son Cooper

From 1993 until 2020, Byron and Bobbie

FMEA conference, specializing in “problem solving.” In 2001, he and Bobbie

took over as managers of the exhibits for the FMEA In-Service Clinic Conference (now

the

Professional

Development

Conference), more than doubling the gross income to FMEA from booth sales.

ensemble, a men’s quartet, and a 25-piece

Byron was married to his FSU college

orchestra. Bobbie served faithfully with him in those ministries for 46 years.

two married sons and four grandchil-

Byron and Bobbie’s family and friends

gathered on September 20 at Bradfordville

Aaron and daughter Colby Ann; Chris

First Baptist Church in Tallahassee to

and Tammy with daughters Abigail Leigh

honor this special couple. The service

and Christina Grace).

began with a video made by members of

From 1962 through 1981, Byron served

the Lincoln High School Chorus alumni

as choir director at numerous Baptist

who reunited to sing Autumn Farewell, a

churches in the Tallahassee area. From

fitting tribute as we said goodbye to our

1981 through 1998, Byron served as the

beloved friends.

October 2020

9

IN MEMORIAM OF

T

A l G. Wright June 23, 1916 – September 5, 2020

The Florida Bandmasters Association and

the Florida Music Education Association are saddened to announce the passing of

our longest living past president, Dr. Al G. Wright, who passed away on September 5

at his home in West Lafayette, Indiana. He was 104 years old.

Dr. Wright served as FBA president

(1946-47) and FMEA president (1952-53).

He grew up in Michigan and attended the University of Miami, where he earned his

bachelor’s and master’s degrees in music.

He taught band and orchestra at Miami

Senior High School from 1937 to 1954, after which he became the second director of the Purdue All-American Marching

Band in summer 1954, where he served

for 27 years until his retirement in 1981.

He was awarded an honorary LLD from Troy State University the year he retired.

During his time at Purdue, Wright

is credited for adding auxiliaries to the marching band. It was Wright’s philosophy that a marching band should have “a

started a Renaissance ensemble that performed for many campus functions.

In 1954, Wright was one of the found-

lot going on during a performance” and

ing members of the Florida chapter of

of the audience throughout the stadium.”

Association (ASBDA), and in 1961 he

that the band should “play to all sections For the Symphonic Band, Wright

brought in well-known musicians as

guest conductors including Arthur Fiedler

from the Boston Pops Orchestra, Leroy Anderson, Edwin Franko Goldman, Ferde Grofe, and Sir Vivian Dunn. When Paul

Lavalle was guest conductor for the band, the concert was aired on Lavalle’s NBC radio show Band of America.

In 1971, Wright also initiated the

10 F l o r i d a

its conductor for several years. He also

orchestra program at Purdue, serving as Music Director

the American School Band Directors

founded the National Band Association

(NBA), serving as its founding president, secretary-treasurer, and then honorary life president in 2000. He was also inducted into the NBA Band Directors Hall

of Fame located at Troy University in

Alabama, the Florida Bandmasters Hall of

Fame, and the University of Miami Band Hall of Fame.

His creative efforts helped the pres-

ident of the Music Educators National

CLICK HERE

to view Dr. Wright’s FBA Legacy Project interview

held memberships in the College Band

Directors National Association (CBDNA), the International Music Festivals, and

was a member of the Jury for World Music Festivals in Kerkrade, Holland.

Wright was elected to membership in

the American Bandmasters Association

(ABA) in 1949. His primary sponsor was march composer Henry Fillmore. Wright

served as ABA president in 1981 and as honorary life president until his death.

Jay Gephart, current director of bands

Conference (MENC) establish the MENC

in Belgium, Holland, France, Germany,

and the Al G. Wright chair of Purdue

at several MENC conventions and at the

guest conductors.

Wright: “His was a life well lived. His

High School Honor Band, which appeared

Kennedy Center. In 1978, Wright assisted

and Italy under some of the nation’s finest Wright was president of numerous

former conductor of the United States

band organizations and served on many

in the development of the John Philip

Bandmasters Association (1948-49); Florida

Air Force Band, Colonel George Howard, Sousa Society, which eventually became

the John Philip Sousa Foundation. With

Wright’s leadership, the John Philip Sousa Foundation dedicated its work to the promotion of international under-

standing through the medium of band

music. Professor Wright served as the Foundation’s president, CEO, and chair-

boards of directors including the Florida

Orchestra Association (1941-42, 194950); Florida Music Educators Association

(1946); North American Band Conductors Coordinating

Commission

(1975-76);

National Interscholastic Music Activities Commission (1958); and Big Ten Band

Directors National Association (1977). He

bands and orchestras, said this of Dr. legacy at Purdue is unparalleled, and

our university owes Al Wright a tremendous debt of gratitude for all he did to

shape the future of Purdue bands. He and his wife, Gladys, together have done

so much for the entire band profession.

His loss is felt not only in West Lafayette but throughout the world. I will miss my friend Al G. Wright.”

Photos and information used with permission of Dave Bangert, Lafayette Journal & Courier.

man of the board.

Al Wright also founded the United

States Collegiate Wind Bands, which gave

high school students the opportunity to travel, playing concerts in various locations in Europe, including performances

(Photo: peoplepill.com)

October 2020

11

Hindsight Implications of the Housewright Symposium on Teaching Music Today

O

by David Ramos

Over 20 years ago, music education was experiencing

Historical Background

inal model of a large performing ensemble. As they

Symposium, as well as its resulting document, we must

profound changes that expanded far beyond the orig-

To fully understand the significance of the Housewright

approached the new millennium, music educators quick-

first be aware of the events leading up to the symposium.

ly realized they had to develop a sound understand-

ing of music of various cultural groups, technological

advancements, and how to adapt to a constantly changing

demography. There was a recurring need to address these

changes on a national level; something had to be done (Madsen, 2000).

Held September 23-26, 1999, at Florida State University,

the Housewright Symposium on the Future of Music Education brought together the brightest minds in the field, with the goal of tackling some of the most divisive issues. The resulting document, Vision 2020: The

Housewright Symposium on the Future of Music Education (Madsen, 2000), was presented at the Music Educators National Conference (MENC) on March 8, 2000.

Interestingly, many music educators may be unaware

the symposium even existed, or that the discussions held

In the early 20th century, music education began to grow and thrive in American public schools, gaining much interest and enthusiasm across the country (Kelly, 2016);

however, with the launch of Sputnik 1 in 1957, a “back to basics” movement emerged in American education.

Courses that were considered academic such as mathematics and science soon became the focus of public school

education, whereas courses that were considered antiintellectual such as music quickly disappeared from

course offerings. At the time, a national response was necessary to redirect the focus of education and to

demonstrate the importance of school music. In 1967, the Tanglewood Symposium brought together scientists, gov-

ernment officials, and music teachers to discuss the major issues related to music in American society.

then are just as relevant today. Given that we are now

in the year 2020, it is an appropriate time to review the goals of the Housewright Symposium and to reflect on our progress in meeting those goals. This article attempts

to highlight the importance Vision 2020 has for current music educators, by exploring (a) how close music educa-

In the decades following, the tenets outlined at the

tion has come to reaching the tenets discussed during the

Tanglewood Symposium were met by extreme socie-

that hinder those principles from being fully realized in

financial insecurities and concerns for teacher and edu-

Housewright Symposium, (b) what new issues are present the year 2020, and (c) what music education could look like 20 years from today.

12 F l o r i d a

Music Director

tal changes. Growing social issues affected community cational quality. Parents were interested in a return to

an emphasis on core classes (Kelly, 2016), meaning music Continued on page 14

2020

October 2020

13

Hindsight 2020 Continued from page 12

education was once again fighting for

mendations voiced during Vision 2020

(1969) argued that the problem with most

Hinckley, who was president of MENC

Deborah Confredo echoed this point, stat-

is they do not relate to students’ lives

inclusion in the school curriculum. June

(now NAfME) and also head of fine arts in the Florida Department of Education, was well aware of the societal changes that

existed during the turn of the century and understood that an important symposium had to occur in order to address them (Madsen, 2000). In 1999, at the Florida State University College of Music, the

Housewright Symposium on the Future

have been realized (Kalogeridis, 2020). Dr. ing, “… as society … manipulated itself and moved across the next two decades,

many of those things [goals for music education curriculum] that were brought up [during Vision 2020] actually became actionable items in curricular change”

(D. Confredo, personal communication, February 7, 2020).

of Music Education brought together more

Multiculturalism

nation, seeking to answer some of the

education in a pluralistic society has been

than 300 music educators from across the most pressing questions in the field and to

envision a future for music education that could come to fruition by the year 2020.

Revelations Realized

It seems the vision posed in 1999 has become the present reality. Dr. Clifford Madsen believes that many of the recom-

14 F l o r i d a

The importance of multicultural music apparent for quite some time, with its

value addressed in both the Tanglewood Declaration (Choate, 1968) and the

Housewright Declaration (Madsen, 2000).

The significance of multicultural edu-

cation in general relates directly to the students, who are of various backgrounds and ethnicities. Knowles and Prewitt

Music Director

school curricula and learning conditions outside of school. Because these students represent a diverse multicultural popu-

lation, American music education needs well-trained teachers able to serve them,

now and for years to come (Madsen, 2000). Since Vision 2020, school music

programs and organizations like NAfME have recognized the importance of inclusivity and community. Publications such

as Journal of Research in Music Education

and Music Educators Journal offer teachers

research-based information and resources for their classrooms to teach for all stu-

dents. Federated music education state associations host annual professional development conferences and clinics that

often include sessions meant to equip teachers with the skills to share music with diverse populations. Also, recent

initiatives like … And We Were Heard

celebrate music written by underrep-

people were instructed to stay indoors

these works to be programmed in school

education, which quickly transitioned to

resented composers and advocate for ensembles across the nation.

Virtual Education

Technology has evolved rapidly over the last few decades, demanding educators

and self-isolate. This greatly impacted

online platforms as opposed to in-person al practical and philosophical challenges for music.

to revise their teaching practices and to

Shortcomings of Virtual

on learning and teaching (Moore, 1989).

The large performing ensemble has been

realize the potential that technology has Dr. Cornelia Yarbrough believed this evo-

lution, as well as the effect it would have on the delivery of instruction, would have

a direct impact on the nature of music making by the year 2020 (Madsen, 2000).

Today, music teachers are met with an

overwhelming number of technological

resources. Updated versions of notation software such as Finale and Sibelius allow

educators to write music more effectively

than ever before. Electronic instruments such as synthesizers, electric guitars, and electronic wind instruments provide stu-

dents and teachers with the means to

create innovative sounds, both inside and

outside of the classroom. Also, online platforms such as Zoom and Google Meet

Dr. Clifford Madsen believes that many of the recommendations voiced during Vision 2020 have been realized.

learning. This transition has posed sever-

Music Education

the basis of American music education for about two centuries, pervading nearly

every music education program in the country. During Vision 2020, Dr. Cornelia

Yarbrough predicted the next logical upgrade for the live ensemble—one that

used Internet connections to allow students to remotely play or sing with each

other in real time (Madsen, 2000). This was a revolutionary notion—combining

the past with the future to create a virtual ensemble. Unfortunately, virtual bands, orchestras, and choirs are novel concepts

that have not yet been fully realized and may never be a sustainable substitute for rehearsing in person. Composer Libby Continued on page 16

have allowed for virtual learning, bring-

ing students and teachers together in a simulated face-to-face experience. These

innovations provide educators with ade-

quate means to teach subjects such as music history and theory, as well as the

ability to conduct small ensemble rehears-

als and private lessons. Furthermore, audio and video editing software has

even made it possible to create videos of virtual ensembles, providing students with simulated performances that reflect their hard work and practice.

Unforeseen Circumstances

In recent months, our way of living has

been greatly impacted by crisis. Seemingly overnight, COVID-19 brought society

to an unimaginable halt. With worldwide fear of this newly discovered virus,

Sibelius Software

October 2020

15

Hindsight 2020 Continued from page 15

Larsen believes that the large-ensemble

motivate their students, or even them-

another era, in which individuals come

During this time of crisis and change, the

model for music education was built from together in one space at a certain time, but virtual education was designed not to do that (L. Larsen, personal commu-

see what is in store for music education,

words of Brian Moore, published in 1989,

available resources in order to lead the

are extremely relevant today:

nication, March 26, 2020). Because virtual platforms do not accurately receive and

deliver sound in real time, there is a brief and inconsistent lag period between the performer and the listener. Once teachers

have a virtual room of 50 or so students— all using different equipment and Internet providers—and have them play or sing at

the same time, they quickly realize that

making a cohesive sound in real time is simply not feasible.

With

virtual

education,

teachers

and students also realize the significant impact of what it means to make

music in the same physical space. Larsen addressed this fact, stating how when students rehearse in the same physical space, they are sharing the same air, continually

shaping and reshaping it, which has a natural physical effect on everyone in the room. She argues that “if we [teachers and

students] are not together in a room mak-

ing music, then we are not making the kind of music that our music education

system is built on” (L. Larsen, personal communication, 2020). This is one of the

reasons why in Larsen’s opinion, virtual education is not a sustainable model that

adequately promotes sound music education.

Re-Visioning the Future: What’s Next?

Music education has found itself in unprecedented times. With the reality of

COVID-19, remote learning has become the norm for educators everywhere.

Making music together in a physical

sense has seemingly been brought to a

halt. Teachers are finding it difficult to

16 F l o r i d a

Though teachers may not be able to

selves, while teaching through a screen.

Music Director

The world is changing. Problems exist that were unheard of a decade

ago. As educators, we must use such change as the impetus for taking a new and fresh look at how and

why we do what we do. The exciting

challenge of the Information Age is to maintain a global perspective that

allows for flexibility. Our own think-

ing will be challenged as we strive to challenge the thinking of our students (Moore, 1989, p. 116).

they are still responsible for using the culture toward a future they believe in (D. Confredo, personal communication, February 7, 2020).

Virtual reality may play a major role in

bridging the gap between large ensem-

bles and virtual spaces, providing music education with the upgrade Yarbrough

voiced over 20 years ago. If an interface were created that allowed for multiple students to sit in a virtual rehearsal

room, this could provide students with a simulation that challenges the physical

rehearsal space. With high-quality speak-

ers or headphones, students could listen

ProTools Software

to their peers around them, playing and

20 years from now may have to prepare

Because sound is produced from a

of Vision 2020, in hindsight, never envi-

breathing in the same virtual space.

computer, students could choose what

“instrument” they want to play, like

themselves for a future that the authors sioned.

how one could alter MIDI settings on

David Ramos is pursuing a bachelor’s

the output audio would sound like that

education at Florida State

music notation and editing software, and instrument. Students could also transfer their computer literacy skills to fit a musical context.

Students today have been trained to

type on computers and are often more

compelled to use a laptop in class rather

degree in instrumental music

University. He is an active member of the National Association

for

Music

Education and began his student teaching in fall 2020.

than pen and paper. Because they are

References

could be made where different keys are

Choate, R. A. (Ed.). (1968). Documentary report of the Tanglewood Symposium. Music Educators National Conference.

type out words and phrases to create

Kalogeridis, C. (2020). Revisiting the vision.

Teaching Music, 27(3), 26-31.

with a couple dozen students, all input-

Kelly, S. N. (2016). Teaching music in American society: A social and cultural understanding of teaching music (3rd ed.). Routledge.

the same time, the large ensemble could

Knowles, L. L., & Prewitt, K. (Eds.). (1969).

Institutional racism in America. Prentice-Hall.

familiar with the keyboard, a transfer

assigned pitches, and students need only musical ideas. Expanded on a larger scale ting information on the same interface at be realized in virtual reality.

Although we are in the early days

of fall 2020 and many music educators hope to see the return of physical ensem-

bles, virtual music may very well be the future of music education. Teachers 10 or

Madsen, C. K. (Ed.). (2000). Vision 2020: The Housewright Symposium on the Future of Music Education. MENC: The National Association for Music Education.

Moore, B. (1989). Musical thinking and technology. In E. Boardman (Ed.), Dimensions of Musical Thinking (pp. 111-116). Music Educators National Conference.

October 2020

17

Music and Deaf Culture

by Marina McLerran

M

Music is generally thought of by hearing

ground and preferences. This increased

that is traditionally not accessible to peo-

quate knowledge of the various social

society as an organized pattern of sound

ple with poor hearing function; however, for some individuals, music plays a necessary social role in Deaf culture in which

hearing loss is viewed as an individual

understanding, when paired with adeuses of music within Deaf culture, will also improve educators’ ability to serve all students within the rehearsal space.

difference or strength rather than a dis-

Degrees of Hearing Loss

should note the use of the capital “D” in

one’s hearing ability is absolute — all or

ability. Throughout this paper, the reader Deaf, which refers to a person’s membership in formal Deaf culture and is distinct from the lowercase “d” deaf, which

refers to an individual’s hearing capabilities. People who identify as culturally Deaf and are actively engaged with the

Deaf community generally prefer sign language and often attend schools and

programs for individuals who are deaf. In contrast, deaf with a lowercase “d” refers

There is a common misconception that nothing — when in fact there are varying degrees of hearing loss. This lack of

understanding about hearing loss, paired

with limited practical information on

the topic, often leads to the unnecessary exclusion of students who are hard-of-

hearing from secondary music classes.

Individuals’ hearing abilities vary greatly and sometimes between a person’s two

ears — referred to as unilateral or bilater-

to an individual who has hearing loss but

al hearing loss (Holmes, 2017). A person

member of Deaf culture (Matheson, 2017).

a hearing loss range of only 10-15 deci-

may not necessarily consider themselves a In order to provide a successful educa-

tional experience to members of Deaf culture, it is important that music edu-

cators be informed about the educational implications of different levels of hearing

loss and an individual’s musical back-

18 F l o r i d a

with typical hearing will generally have

bels (dB HL), while the range of someone with mild hearing loss is 26-40 dB

HL (American Speech-Language-Hearing Association, 2020). Profound hearing

loss is defined as having a hearing loss

Music Director

Continued on page 20

October 2020

19

Music and Deaf Culture Continued from page 18

range of 90 dB or more (American Speech-

from a secondary musical ensemble will

people who consider themselves mem-

There is also variation in individuals’

like self-regulation, time-management,

either born deaf or were born to parents

Language-Hearing Association, 2020).

abilities to perceive extremely high or low frequencies, depending on their degree of hearing loss.

“Deaf people seldom live in a world of

absolute aural silence” and are therefore

capable of and entitled to inclusion in sec-

ondary instrumental ensembles (Holmes, 2017, p. 13). In an analysis of online content written by individuals who are deaf

have ample opportunities to refine skills social interactions, and managing performance anxiety. These skills, although not

usually explicitly stated in the mission of

a secondary musical ensemble, are not limited to persons of any one culture or ability level and have a direct impact on

students’ capacity to function in life after school.

or hard-of-hearing, Watkins (2017) cited

Deaf Culture

importance of music. One participant stat-

beliefs, social forms, and material traits

statements about the perceived role and

ed, “Music is such a powerful tool and

is extremely important in anyone’s life”

(Watkins, 2017, p. 30). Another shared, “For those who struggle to communicate due

to their hearing loss, music is a great way for them to express themselves” (Watkins,

2017, p. 33). Before excluding a student

with hearing loss from musical opportunities, educators need also to consider the

social and developmental impacts asso-

ciated with the study of fine arts. Aside from the base skill of singing or playing an instrument, students who graduate

20 F l o r i d a

bers of Deaf culture are those who were who are deaf, consider themselves Deaf

with a capital “D,” and use American Sign Language as their primary form of communication at home (Best, 2016; Darrow,

1993). Not all individuals included in the Deaf community are completely deaf; it is more of a question of social identity than physical similarities.

A major tenet of Deaf culture is that

Culture is defined as “the customary

people who are Deaf are culturally dif-

of a racial, religious, or social group”

not “lesser than” or “disabled” (Holmes,

serve as an identifying characteristic that

Deaf culture, in order to overcome the

(Merriam-Webster, 2020) and can also can unite people (Darrow, 1993). An indi-

vidual’s membership in Deaf culture is

dependent on multiple factors including preferred method of communication and

family environment (Best, 2016; Darrow, 1993). For example, children who are

hard-of-hearing or who lost their hearing after speech was developed are unlikely

to become entirely immersed in Deaf culture (Darrow, 1993). The majority of

Music Director

ferent than typical hearing people and

2017). Tension occurs when members of

language barrier between ASL speak-

ers and the hearing population, must

register for disability services and thus

reinforce the perception of deafness as a negative characteristic (Best, 2016). To

address this tension, the term deaf gain is often employed in the place of hearing loss

by Deaf communities to place the focus instead on what a person can do (Holmes,

2017). It has also been pointed out by

experiences that may prompt emotional

responses, which reinforces the idea that music is an activity for hearing people only.

There is also an interesting relationship

between a person’s membership in either hearing or Deaf culture and his or her concert attendance preferences and practices.

A popular tradition in Deaf culture, for various authors that most research being

and backgrounds, people with hearing

for D/deaf students has been conducted

culture should be approached as indi-

presented on the topic of music education

by hearing people (Darrow, 1993; Holmes,

2017). This lack of voices from the Deaf

community is problematic for two main reasons; hearing researchers are more apt

to (1) make assumptions about the uni-

formity and priorities of people who are D/deaf and (2) unintentionally perpetuate

the idea that something is inherently lack-

ing about a lifestyle that does not include

resentatives of hearing and Deaf culture.

Members of Deaf culture often experience a certain level of dualism as being both

Deaf and American since the hearing-cen-

tric national culture is often inaccessible and unwelcoming to individuals who do

not use aural communication. Instead, the

overwhelming message is to conform, a trend that has been compared to oppressive colonialism by Deaf scholars (Best, 2016). In order to interact appropriately

with students who have varying degrees

of hearing loss, it is important that music

educators understand the fundamental

social characteristics of Deaf culture and make time to learn about the specific students in question. Just as there are hearing people with different musical preferences

for the purposes of a public performance.

This musical style is similar to the exten-

educators are encouraged to find ways to

sive and extemporaneous moments in

involve representatives of Deaf culture in

rap music or to a public poetry read-

the rehearsal space or as sounding boards

ing (Holmes, 2017). There are four main

for decisions about inclusion as a sign of

categories of expression included in a

respect and to avoid creating unintention-

song-signing performance: music, lyrics,

ally oppressive situations (Watkins, 2017).

heavy emphasis on finding meaning in

range of social interactions between rep-

Sign Language, in a rhythmic sequence

and musical preferences as well. Music

tions of hearing loss vary dramatically between individuals, there is also a wide

words together, expressed in American

viduals with their own personal histories

1993; Holmes, 2017).

Just as the degrees and manifesta-

Song-signing is the practice of putting

loss and members of the formal Deaf

Comparing Music of Deaf and Hearing Cultures

music in the traditional sense (Darrow,

example, is song-signing (Holmes, 2017).

American Sign Language, and miscellaneous gestures like dancing or pulsing.

Pulsing is defined as a physical movement

of the signer’s entire body in time with the music and is commonly employed as

In traditional Western culture, there is a

a method of phrase delimitation (Maler, 2013). These performances are paired with

a piece of music or the idea of music as

extremely loud bass lines and flashing

communication. This practice can create

lights to enhance the overall musical and

an unintentional divide between hearing

visual experience (Holmes, 2017). This

people and Deaf people since there is evi-

type of immersive and multisensory con-

dence that these two social groups tend

cert is also common practice by hearing

to interpret music differently (Darrow,

musicians, especially in the genres of

2006). When comparing participants’

pop and rock, although there are some

associations of musical excerpts to vari-

interesting differences, like the ability

ous emotions, Darrow (2006) attributed

of American Sign Language signers to

the difference in responses between Deaf

continue regular communications across

and typical hearing participants to mul-

a loud concert venue. On the other end of

tiple factors: the inability of some par-

the performance spectrum, quieter genres

ticipants to clearly hear some examples,

like Western classical music are perhaps

the stark difference in early childhood

more appealing to audiences with typical

musical experiences, and the complexity

hearing, since the events traditionally do

of musical texture. Most relevant to music

not include much in the form of move-

education is Darrow’s (2006) point that

ment, lyrics, or visual aspects. Instead, the

most schools for deaf individuals include

emphasis of art music is typically placed Continued on page 22

no form of music education for young stu-

dents; consequently, students lack musical

October 2020

21

Music and Deaf Culture

In order to be successful, the process of inclusion … must first stem from a place of respect …

only on listening and on the audience’s

who referred to musicking as taking “part,

of the individual differences as far as

works. Depending on an individual’s level

whether by performing, by listening, by

cal training. Darrow and Novak (2007)

Continued from page 21

ability to appreciate the minutiae of the of residual hearing and proximity to the ensemble, this type of performance can

be less accessible for members of Deaf culture. Acknowledging this cultural dif-

ference, and keeping in mind the general tendency of adolescents to prefer pop

music, music educators might strive for a balance between the traditional canon of

Western classical music and more contem-

porary selections when making decisions on repertoire.

Implications for Music Education

In order to successfully include members

in any capacity, in a musical performance, rehearsing or practicing, by providing

material for performance (what is called a composer), or by dancing” (Small, 1998,

p. 9). By this definition, a person does not necessarily need the best hearing or the

most trained musical ear to contribute in a

major way to an ensemble’s performance.

Secondary music educators working with individuals of varying hearing abilities must place the emphasis on what students can contribute to the ensemble and

celebrate their musical growth on a caseby-case basis.

One possible adaptation for students

of Deaf culture into a hearing musical

with minimal musical training is to pro-

what it means to make and enjoy music.

music with a short story or sentence)

ensemble, it will be necessary to redefine Holmes (2017) suggests that all people

can benefit from the study of arts, regardless of hearing capabilities. She therefore

encourages educators to explore music as a full-body experience, rather than limiting lessons to external aural practices alone (Holmes, 2017). Evelynn Glennie,

a professional percussionist who is also deaf, believes that hearing people tend to

become over-focused on the idea of hearing being isolated to the ear alone rather than viewing the five senses as a complex

network (Kheshti, 2011). Glennie further encourages musicians to consider all parts

and systems within the body as “tools for engaging with sound” and to make

reference to the many internal musical

skills regularly employed by musicians,

like the ability to audiate during score study (Kheshti, 2011, p. 713). This ability

to “hear” pitches and intonation before beginning to play is beneficial to all musicians and should be gradually cultivat-

ed within all secondary ensembles. This

all-encompassing definition of musical participation is supported by the educational philosopher Christopher Small,

22 F l o r i d a

vide visual aids (like pairing a piece of or transpose their parts to a range that lies within the individual’s residual hear-

ing (Darrow, 2006). Directors should also

make efforts to avoid abstract language or analogies that might alienate students with limited hearing capabilities (Darrow & Novak, 2007). For example, a student

with congenital hearing loss who has

perhaps never heard the sound of a bird’s wings will not benefit from this example

specific learning needs and prior musireminded educators that, because hearing loss is invisible, it may go unnoticed in a child’s early years, even though a

hearing loss has a major impact on lan-

guage development and communication.

Students’ educational needs will depend on the degree of hearing loss, the age of

initial hearing loss, the cause of hearing loss, and the student’s functional use of residual hearing (Darrow & Novak, 2007).

Secondary music educators preparing to

work with students with hearing loss who consider themselves Deaf with a capital “D” should consider learning entry-level

American Sign Language and becoming educated about the rich cultural heritage

of the Deaf community (O’Brien & Placier,

2015). It is also necessary to be cautious of

word choice that could be unintentionally hurtful to students with hearing impair-

ments, like using the phrase tone deaf as an insult (Best, 2016). Directors should strive

to create an informed and welcoming music community within their classroom

rather than further perpetuating harmful stereotypes and social divisions.

It is critical that music educators are

as a reference for the sound their instru-

aware of the wishes of the students and

served by more explicit instruction about

cational experience. Research into parent

ment should make and could be better what specific performance techniques

should be adjusted (Darrow & Novak, 2007). Students with profound hearing loss should be placed close to the front

of the rehearsal space and provided with a clear view of the teacher. It will also be

necessary to remove all extraneous noise from the learning environment — an adaptation that will positively affect the

ability of all students to better focus on musical sounds and the instructor’s voice.

Before attempting to include a student

who is D/deaf into a secondary musical ensemble, educators need to be aware

Music Director

parents before initiating an inclusive eduinvolvement has shown that students’

interest in the study of music often stems from the level of participation in the arts

by their family members and will there-

fore vary greatly by student (Darrow 1993;

Zdzinski, 2013). Children who have had minimal exposure to music in early edu-

cation might not be interested in joining a secondary ensemble and should, like

all students, be provided with opportuni-

ties to study music, but given the choice whether to continue or not (Darrow, 1993).

Included within the analysis of online commentary about the importance of

music, Watkins (2017) presented multiple

secondary musical experiences and to be

ual who stated, “I was born Deaf, and for

of music educators to become informed

negative responses including one individ-

me, music is boring” (p. 31) and another who posted, “One can only enjoy the feel

of drums so many times” (p. 31). Directors, therefore, should be aware of the needs

accepted socially. It is the responsibility

to collaborate with student musicians of varying abilities.

Marina McLerran is a

might ultimately be unnecessary. In order

at the Frost School of Music

to be successful, the process of inclusion

in a secondary setting must first stem from a place of respect for individual students’ cultural backgrounds and learning

needs. Families who do consent to the inclusion process at the secondary level

should be themselves included as much as possible in their child’s musical education

in order to promote the idea of continued musical study at home (Darrow, 1993; Zdzinski, 2013).

Currently, the United States hosts the

largest and most socially visible popu-

lation of Deaf community members in the world (O’Brien & Placier, 2015); consequently, the likelihood of interactions between hearing music educators and

D/deaf students is increased. It is not a question of if educators will have oppor-

tunities to work with these students, but rather when. Regardless of hearing abili-

ties, all students deserve to have access to

Holmes, J. (2017). Expert listening beyond the limits of hearing: Music and deafness.

Journal of the American Musicological Society, 70(1), 171-220. https://doi.org/10.1525/ jams.2017.70.1.171

about Deaf culture and to be willing

and wishes of each individual student before creating a plan for inclusion that

Journal of Music Therapy, 44(1), 57-73. https:// doi.org/10.1093/jmt/44.1.57

Kheshti, R. (2011). Touching listening: The aural imaginary in the world music culture industry. American Quarterly, 63(3), 711-731. https://www.jstor.org/stable/41237573

Maler, A. (2013). Songs for hands. Analyzing interactions of sign language and music.

Music Theory Online, 19(2), 1-15. https://doi. org/10.30535/mto.19.1.4

graduate teaching assistant

at the University of Miami

Matheson, G. (2017). The difference between d/ Deaf and hard of hearing. AI-Media. Access Innovation Media Limited. https://blog. ai-media.tv/blog/the-difference-betweendeaf-and-hard-of-hearing

where she is earning the MME. She holds a degree

from Stephen F. Austin State University and

has served as a public school band director for

Merriam-Webster Online Dictionary. (2020).

Culture. Merriam-Webster Incorporated.

Retrieved from https://www.merriamwebster.com/dictionary/culture

five years.

References

O’Brien, C. A., & Placier, P. (2015). Deaf culture and competing discourses in a residential school for the deaf: “Can do” versus “can’t do.” Equity and Excellence in Education, 48(2), 320-328. https://doi.org/10.1080/10665684.20 15.1025253

American Speech-Language-Hearing Association. (2020). Degree of hearing loss. https://www.asha.org/public/hearing/ Degree-of-Hearing-Loss/

Best, K. (2016). “We still have a dream:” The deaf hip hop movement and the struggle against the socio-cultural marginalization of deaf people. Lied Und Populäre Kultur, 60, 61-86.

Small, C. (1998). Musicking: The meanings of performing and listening. Wesleyan University Press.

Watkins, C. S. (2017). The Deaf perspective: A content analysis study to determine Deaf and hard-of-hearing individuals’ perceptions and attitudes towards music (Publication No. 10641127) [Master’s thesis, Florida State University]. ProQuest Dissertations and Theses Global.

Darrow, A. A. (1993). The role of music in Deaf culture: Implications for music educators.

Journal of Research in Music Education, 41(2), 93-110. https://doi.org/10.2307/3345402 Darrow, A. A. (2006). The role of music in Deaf culture: Deaf students’ perception of emotion in music. Journal of Music Therapy, 43(1), 2-15. https://doi.org/10.1093/jmt/43.1.2 Darrow, A. A. & Novak, J. (2007). The effect of vision and hearing loss on listeners’ perception of referential meaning in music.

Zdzinski, S. (2013). The underlying structure of parental involvement-home environment in music. Bulletin of the Council for Research in Music Education, 198, 69-88. https://doi. org/10.5406/bulcouresmusedu.198.0069

October 2020

23

ComponentNews FLORIDA VOCAL ASSOCIATION

Jason Locker, President

DOWNLOAD HEARTOUT

T

hough our classrooms look and feel very different this school year, I hope you are enjoying the time spent with

your students in the pursuit of music education.

FLORIDA ORCHESTRA ASSOCIATION

Matthew Davis, President

Similarly, the process by which FVA is conducting all-

state auditions looks very different from previous years. The first several weeks of school were not marked by the frantic

preparation of students for the annual musicianship and

T

sight-reading exams, followed immediately by preparation

their families need us now more than ever. The work we are

excerpts and recorded/submitted either with the assistance

his has been a year of changes and adaptations. There

are new procedures and new technology—school looks

of music packets for the vocal quality audition.

Instead, students are preparing to record only a vocal

and feels different. But remember that our students and

quality audition featuring three pre-announced musical

doing creating music is truly essential for our students. As

of a teacher or on their own via the HeartOut app. This

you navigate the challenges and difficulties 2020 will dish

out, don’t forget why you are here—for the kids and for the music!

I would like to remind everyone of our changed all-state

audition procedures for this year. Students will audition using the HeartOut app during the audition window of October 1-3. Please contact HeartOut if you require technical support during the auditions. They will have a help

desk available to troubleshoot and answer your questions if needed. All-state judging will occur later this month, October 17, at the Orlando Hilton. If you are judging, make

marks a drastic departure from our usual procedure, and

while we hope it goes off without a hitch, your FVA leadership and the tech support folks at HeartOut stand ready to assist you and your students as needed.

« Districts 1-6: Monday, October 5, & Tuesday, October 6 « Districts 7-12: Wednesday, October 7, & Thursday, October 8 « Districts 13-19: Friday, October 9, & Saturday, October 10 Audition submission windows:

FVA is committed to completing the audition process and

sure to contact your district chairperson for specific instruc-

seating the 2021 All-State Choruses so our students can take

all-state audition chairman, for all of his assistance with the

meet in Tampa this year. All-State Chorus results will be

tions. A special thank you goes out to Brian Hellhake, our adaptations made this year. Best of luck to all students for a great audition!

Unfortunately, our Fall Conference was canceled due to

the pandemic. But our mentoring committee has been hard

at work creating virtual professional development oppor-

tunities on our website. Many thanks to Sarah Guarrine for

pride in earning this honor, even though we are unable to released no later than November 6. My sincere thanks to all

district chairpersons, the entire All-State Committee, and especially our All-State Chair David Verdoni for the incred-

ible amount of effort that went into making this revised audition process possible. We are all in your debt.

On a separate note, it is with heavy hearts that the Florida

organizing this wonderful project titled “Success in Virtual

Vocal Association acknowledges the passing of Byron and

hear from you, our FOA members. Submit your best strategy

cators and students of Florida in a number of capacities for

Learning.” It is not too late to submit your idea—we want to and teaching idea either in a PDF or movie format. Refer

to the FOA website for instructions on how to submit your great idea!

As always, I welcome your feedback about all areas in

which FOA is involved. Feel free to email me at mdavis@ myfoa.org.

24

I hope you have a truly wonderful October!

Florida Music Director

Bobbie Smith. This beautiful couple served the music edu-

many years. Byron served as both FVA (1983-85) and FMEA (1989-91) president. He is a member of the FVA Hall of Fame, and Bobbie is a member of the FVA Roll of Distinction. They will not be forgotten by those of us fortunate enough to have known their dedicated service, their skilled musicianship, and their genuine love and care for all.

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

Flipping Your Professional Switch

I

n some faraway lands, October means the first sightings of light jackets and fuzzy

boots, leaves changing colors, and for some reason it starts getting dark a LOT

earlier. Then there’s Florida. With an average October high of 84º, Floridians are

wearing shorts and flippy floppies, everything is green … still, and the approach-

ing time change simply means less time to mow the lawn after work. Oh, and there’s still over a month left of the hurricane season, so there’s that.

As if wearing flip flops for eight months straight wasn’t enough to celebrate,

October in Florida means midterms are right around the corner (already?!), and the Florida NAfME Collegiate Fall Conference will be here before you know it. Your Executive Board has been working very hard to organize a virtual event that prom-

ises to be enlightening and exciting! I hope you will consider organizing socially

distanced watch parties within your chapter, which will provide opportunities for

fellowship and discussion during breaks. Check with your chapter officers and look for communication from the state board for details related to the conference schedule. Remember, this year’s event is FREE, and you don’t have to travel to attend it,

so take advantage of the opportunity to experience first-class professional development sessions from some of Florida’s greatest music educators!

Since this is an election year, October also means you’re being bombarded with

robocalls and advertisements advocating for (or disparaging) one candidate or

another. Be sure to filter through all of that noise and do your own research. Decide which issues are most important to you, and then determine where each candidate

stands on those issues. This is the time to do your research so you are ready for the elections next month. Then, when the time comes, exercise your right to vote, and

cast your ballot for the candidates who care about and support the things you value most … like arts education! The results of the 2020 elections will certainly impact your experience as you enter the teaching profession in the near future.

See you all very soon!

Notice of In-Person Cancellation

2020 NAfME All-National Honor Ensembles

Thank you for your patience concerning information about the 2020 NAfME All-National Honor Ensembles (ANHE) program.

Due to the ongoing COVID-19 pandemic, the National Association for Music Education (NAfME) has made the difficult decision to cancel the in-person combined Amplify 2020 NAfME PreK-12 National Conference, Music Research and Teacher Education Conference, and All-National Honor Ensembles, originally scheduled to take place November 4-8 in Orlando. The health and safety of our members, students, and event participants was, and remains, our priority.

In light of this decision, NAfME is working on planning a virtual event for the 2020 All-National Honor Ensembles program.

Staff will communicate with students, their parents, and their directors as information becomes available.

Thank you for your understanding.

October 2020

25

ComponentNews FLORIDA NAfME COLLEGIATE

Julian Grubb, President

H

ello, fellow FMEA and Florida NAfME Collegiate members. I hope that every-

one’s year is off to a great start! Over the summer the Executive Board has

been working hard to find the safest way to conduct our annual Fall Conference.

In these preparations we have decided to host the conference via Zoom. Due to the

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

conference being online, this year’s Fall Conference will be free.

Virtual Fall Conference Schedule October 25, 2020 8:00 a.m.

Opening Remarks

8:30 a.m.

Ms. Ernesta Chicklowski – Elementary Music Education Q/A with Ms. Chicklowski

9:30 a.m.

Dr. Dre Graham – Culturally Responsive Music Education Q/A with Dr. Graham

10:30 a.m.

Dr. Patricia Gingras – Careers in Nontraditional Teaching Situations Q/A with Dr. Gingras

11:30 a.m.

Lunch

12:30 p.m.

Music Supervisors Zoom Q/A Panel

2:00 p.m.

Mr. Douglas McCullough – Why are you taking your students to contest?

Q/A with Mr. McCullough

3:00 p.m.

Dr. David Williams – Music With iPads and the New Music Collaborative Q/A with Dr. Williams

4:00 p.m.

Break

undergraduate students.

4:10 p.m.

Ms. Shelby Montgomery – The Rockestra Q/A with Ms. Montgomery

al fall membership meeting virtually

5:10 p.m.

Closing Remarks and Advocacy Presentation

I

t’s hard to believe it’s already

October! I hope you’ve settled into

a familiar routine and are finding

success in the classroom. There are two important announcements this month for the FCMEA membership.

First, Florida NAfME Collegiate

will host its Fall Conference virtu-

ally on October 25. This conference is a valuable opportunity for college students to grow, connect, recharge,

and prepare for their future careers.

Let’s support it by encouraging every music education student in Florida

to attend. Check your email for more

information and forward it on to your Second, FCMEA will hold its annu-

on October 25 at 3 p.m. We have many

important topics to discuss, including current challenges facing higher

education. Invites will be emailed to the membership later this month. I’m

looking forward to seeing everyone, engaging in meaningful conversa-

tion, and working together for the betterment of the profession.

Until then, stay safe and teach well!

26

Florida Music Director

The conference registration can be found here:

CLICK HERE

In these uncertain times it is important that we all stick together and use each

other as resources. We will make it through these difficult times, and we will be better educators for it. We wish you and your chapters the absolute best in the com-

ing semesters.

Please do not hesitate to reach out to us at flnafmecollegiate@gmail.com

if

you have any questions or concerns about the Fall Conference or how you can be more involved with music education. We look forward to seeing you in October for this year’s conference, and remember, keep making music!

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

ResearchPuzzles FOR MUSIC TEACHERS

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

How are researchers exploring the risks of spreading COVID-19 while making music? « Distance—6 feet by 6 feet, with additional space (9 feet by 6 Preliminary Results, 2 Round The August 6 public release of news from this ongoing research feet) for trombone players. at the University of Colorado, Colorado State University, and « Timing—limiting rehearsal times to 30 minutes or less nd

the University of Maryland reinforces preliminary results and

significantly reduces the quantity and spread of aerosols.

aerosol testing chamber and play notes at loud and soft volumes.

air change has occurred before using the same room again.

refines suggestions a bit. In these studies, wind players enter an The flow of air (and particles) emerging from the instruments is being measured to get an overall understanding of relative

airflows from the instrument bell, fingerholes, fipples, and the musician’s nose and mouth. They also measure the effect of vari-

ous mitigations (plastic shields or music stands placed at the end of the instruments, wearing surgical/homemade masks, wear-

ing N95-certified respirators, wearing face shields, and utilizing

low-resistance filtering mouthpieces). There are plans to assess

the potential impact of aerosol generation in a rehearsal room with multiple players, if that can be done safely, to gauge the effectiveness of passive control techniques (e.g., social distanc-

ing and isolation, room ventilation and filtration, and personal protective equipment).

The National Federation of State High School

« Masks—strongly recommended on both persons and instruAssociations has these recommendations:

ments at all times, indoors and outdoors. “Personal masks

should be well-fitting, multi-layered, washable or disposable, and surgical in style. Ideally, bell covers should be made of non-stretchy material that has a Minimum Efficiency

Reporting Value (MERV) of 13—a rating known to protect

against cough and sneeze, bacteria and virus particles.

However, any type of covering is better than nothing.”

Following an indoor rehearsal, wait until at least one HVAC

Outdoors, stop playing for approximately five minutes after

« Airflow—for outdoor rehearsals, open-air tents—those with each 30-minute segment to allow the aerosols to disperse.

high rooftops and without walls—should be employed. For indoor rehearsals, HEPA filters and HVAC systems with fre-

quent air exchanges are strongly recommended. Additional

guidance can be found on the American Society of Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE)

« Hygiene—in addition to basic hygienic measures like keepwebsite: ashrae.org.

ing common areas sanitized and encouraging frequent hand-

washing, the report recommends that instrument spit valves be emptied onto absorbent sheets such as puppy pads rather than directly onto the floor.

CLICK HERE

for links to the press releases and reports.

Stay safe! I will continue to update you with more information

as it becomes available.

Email your questions and feedback to d.coffman1@miami.edu Research Puzzles.

October 2020

27

FLORIDA MUSIC EDUCATION ASSOCIATION 2020-2021 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, 2020, through September 4, 2020.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

Clifford Madsen Russell Robinson

SUSTAINERS $100 – $999

Ann Adams-Valle In Dedication of Bobby L. Adams Lucinda Balistreri In Honor of June M. Hinckley Anthony Chiarito Dayna Cole In Memory of Linda Mann Alice-Ann Darrow In Honor of Mr. & Mrs. O. B. Darrow Jason Dobson Patricia Flowers Dennis Holt Marsha Juday Steven Kelly Sheila King In Memory of John W. King Jason Locker In Memory of June M. Hinckley Natalie Mallis Angel Marchese Carolyn Minear Ree Nathan John Nista

28 F l o r i d a

Music Director

Kimberly Oppermann On Behalf of the Board of Directors of HCEMEC, Inc. David Pletincks In Honor of Alexis & Jonathan Pletincks Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John “Buck” Jamison & Dr. Bill Prince Kathleen Sanz In Honor of June M. Hinckley J. Mark Scott In Honor of Dr. Judy Arthur & Dr. Judy Bowers 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 Robert Todd In Memory of Gary Rivenbark Richard Uhler Kenneth Williams

PATRONS $25 – $99 Carlos Abril Karen Bradley In Memory of Harold Bradley Katarzyna (Kasia) Bugaj Alexander Busby Audrey Carballo In Memory of Irwin Bernard Greg Carswell Renee Cartee Dale Choate Zachary Chowning Debbie Cleveland Don Coffman David Cruz Matthew Davis In Memory of Robert Morrison Marc Decker Virginia Densmore In Memory of Jeff Bradford Virginia Dickert

In Memory of Lindsay Keller & Deborah Liles

Debbie Fahmie Melanie Faulkner

Melissa Salek Ted Shistle Kyle Spence Valerie Terry Howard Weinstein In Memory of Barry Weinstein Julian White In Dedication of Kenneth Tolbert

Bradley Franks In Memory of Gary W. Rivenbark Tina Gill In Memory of Gary W. Rivenbark Cheryce Harris Julie Hebert John Henderson Michael Johnson Lu Anne Leone Joseph Luechauer Robert McCormick Jeneve Medford Jarvis Katie Grace Miller In Honor of My Aunt Artie Amy Nickerson In Memory of Carola F. Nickerson Mary Palmer Galen Peters Marie Radloff In Memory of Charles F. Ulrey C. William Renfroe In Memory of Herbert Beam, past FVA President & my high school choral director

Anonymous (6)

FRIENDS

up to $24

Shirley Andrews Gloria Berkowitz In Memory of Judy Berger Crystal Berner Antonio Borges Nicholas DeCarbo Beth Ann Delmar Jodie Donahoo Wanda Drozdovitch Ashley Espinal

Anna Marie Friars In Memory of Matthew McLaughlin Walter Halil Jason Jerald Patricia Losada Deborah Mar In Memory of Barbara Kingman Christopher Miller Kristy Pagan Hank Phillips

Edgar Rubio Jack Salley Thomas Stancampiano Phil Tempkins Michelle Tredway Gary Ulrich Lisa Wilson Anonymous (3)

DONATE TODAY FOR A STRONGER TOMORROW. With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts, and improve your professional development opportunities.

Visit FMEA.org to learn more information about each fund and to make a donation.

October 2020

29

CommitteeReports

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Minority Within a Minority Addressing the Needs of Music Students With Multiple Minority Identities

J

Javier is an excellent student and a talented clarinetist. He is also Mexican, gay, and has mild cerebral palsy that affects his gait. After missing several classes, Javier’s mother notified his band director that he would be finishing his senior year online. His mother explained he was being bullied at lunch and in the hallways, and as a result, had recently become withdrawn and depressed. His band director contacted the school counselor and together they were determined to intervene before he withdrew from school. After talking with Javier, they found out he was taunted by classmates with jeers such as “Go back to Mexico, you gay gimp. Mexico probably won’t even take you back.” Javier explained that he had no friends and that his Mexican classmates shunned him for being gay. Fellow LGBT students made fun of the way he walked. He was determined to finish high school virtually and then attend Arizona State University’s business school online.

F

lorida, Arizona, and Texas are diverse

Psychologists and social scientists

disability, appearance, etc.) combine to

active effects of being different in two

intersectional analysis considers all the

states with many music students

since the 1980s have studied the inter-

Minority refers to a category of people

or more ways. Kimberlé Crenshaw, a

who represent multiple minority groups. who experience relative disadvantages when compared to the dominant social majority. Minority group membership

is generally based on observable char-

acteristics or practices such as ethnicity, race, class, gender, religion, sexual orientation, or disability (Healey, et al., 2019).

Students may be part of a minority group

in regard to some characteristics and part

of the dominant majority in regard to others. Managing multiple identities can be

stressful for students such as Javier. Poor

health outcomes are well-documented among oppressed populations (Williams

professor at Columbia University and the University of California Los Angeles, coined the term intersectionality, and

with her research on sexism and rac-

ism, the term became mainstreamed and now appears in the Merriam Webster

Dictionary. Intersectionality is defined

as “the complex, cumulative way

in which the effects of multiple forms of discrimination (such as racism, sexism, and classism) combine, overlap, or intersect especially in the experiences of marginalized individuals or groups”

& Mohammed, 2009), and students who

(“intersectionality,” 2020).

multiple minority identities are at even

itative framework for examining how

(Cochran, et al., 2007).

der, sex, race, class, sexuality, religion,

experience discrimination based on greater risk for poor health outcomes

30 F l o r i d a

Intersectionality also serves as a qual-

individuals’ multiple identifies (e.g., gen-

Music Director

create discrimination or privilege. An

characteristics that apply to an individual

in combination, rather than considering

each characteristic in isolation. Research has shown that the effects of having

multiple minority identities is not necessarily additive, but rather interactive

in complex ways (Nettles & Balter, 2012).

Identities may be advantageous or disadvantageous depending on the situation.

For example, a student who is bilingual may be admired and appreciated when he is able to translate during a medical

emergency, but at school, he is marginal-

ized by his white majority classmates for being a Mexican immigrant. A Black student may be celebrated for a being a star athlete or a musician, and yet regarded

as suspicious by a salesclerk as he walks through a department store in a predominantly white neighborhood.

Profiles of Multiple Minority Persons

Persons who are members of multiple minority groups often experience discrimination from one minority group

against another. Deidre Davis Butler, a champion for disability rights and a Black

attorney who helped draft the Americans with Disabilities Act, challenged the Black

community to not turn its back on Black people with disabilities. In an interview

for NPR on Tell Me More with Michel

Martin, she stated, “The population in the Black community ostracizes Black folks with disabilities, often. You are ostracized by your own community because of a lack

of understanding that disability rights are civil rights.” (Martin, 2010)

Deidre Davis Butler

In Different in Two Ways, Ryan Haddad,

a young actor and playwright who is gay

I

It wasn’t until I started trying to meet men that I suddenly had to confront my cerebral palsy every time I had a conversation. One time, I told a man he wasn’t my type, and he said, “With all your problems, you’d be lucky to take whatever you can get.” I knew he was wrong, but Danny Sharron and Ryan Haddad I didn’t know what to say. This was (Photo: playbill.com, Sept. 22, 2020) all very new for me. Honestly, I can only really remember a few times growing up when I had to face any sort of discrimination. In third grade, a girl named Samantha called me a cripple. On the first day of high school, the special ed teacher assumed I was going to be in all of her classes, even though I was scheduled for all honors. And I suppose there were some friends who avoided socializing with me on weekends because they didn’t want to deal with the responsibility, or the burden, of helping me get around. But it never even occurred to me that my disability might make being gay more complicated. Which is why I was really confused the day after I came out, when my mother hugged me, crying, and she said: “I’m scared. Now you’re different in two ways” (paras. 18-23).

and has cerebral palsy, writes (Haddad, 2020):

Continued on page 32

October 2020

31

CommitteeReports Diverse Learners continued from page 31

minority identities. Or perhaps with the

the basis of instruction (Richards, et al.,

students are struggling even more. Recent

important, the second and third dimen-

racial tensions that exist today, music social emotional health data would suggest the latter. In a recent survey, more

than half of students surveyed report-

ed they needed mental health services (Jones, 2020). In the face of such data, cul-

turally responsive teaching is imperative, more so than ever before. In addressing Gabe Cazares (Photo: gofundme.com)

Gabe Cazares is different from the

majority in three ways. Last fall, Mayor

Sylvester Turner of Houston appoint-

our students’ social and emotional health, we must consider our students who identify with not one, but multiple marginalized minority groups, which now include

2007). Although all three dimensions are

sions are controlled by the teacher, and consequently, figure most importantly

in being culturally responsive to students with multiple minority identities.

Teachers who are comfortable examining their instructional practices and their own

beliefs about and attitudes toward minority students are most likely to respond

aptly to the needs of multiple minority students.

A number of authors have made

those struggling with mental health.

instructional suggestions applicable to

of the Mayor’s Office for People with

Culturally Responsive Teaching

tities (Banks & Banks, 2004; Darrow &

gay, and blind. In an interview with Judith

marginalized group are concerned with

ed Gabriel “Gabe” M. Cazares director

Disabilities. Cazares is a person of color, Huemann, famed disability rights activist, Cazares discussed his struggles with making Spanish print material available

to his Houston constituents who are blind and the angst of having family members who are undocumented (Huemann, 2020).

He also acknowledges the prejudices that remain regarding gay couples (Equality,

2020). As an educated and successful professional, he realizes these are all battles

that must be conquered, but because of his job, he focuses on his identity as a person with a disability, although his identi-

Students who belong to more than one their integration into the majority, but

also with prejudices from one minority group against another. It is the intersec-

tion of learners’ multiple identities and their interactive effects that make these students’ instruction unique. Culturally responsive teaching is not meant to

address any one culture or group, but whatever cultures or groups are represented in the classroom, including the

ways these cultures and groups intersect.

Culturally responsive pedagogy com-

ties as a person of color and

prises three dimensions: (1)

a gay man are not far from

institutional; (2) personal;

his thoughts and concerns.

and (3) instructional. The

There are numerous clas-

institutional

sical musicians who share multiple identities: Sebrina Maria

Alfonso,

and its policies and values.

Breanna

The

Sinclairé, and Tona Brown to name a few. All of these now well-known musicians were

personal

dimension

refers to the cognitive and Breanna Sinclaire

once music students in our (Photo: sfgate.com) classrooms. Perhaps the music students of today struggle less with their multiple

32 F l o r i d a

dimension

reflects the administration

emotional processes teachers must engage in to become culturally responsive. The

instructional dimension includes materials, strategies, and activities that form

Music Director

students with multiple minority idenWhite, 1998; Gay, 2000; Ladson-Billings,

1994; Nieto, 1999; Robinson, 2016). The

following list of teaching suggestions is not exhaustive. Please feel free to share

with me any practical suggestions that

you may have for including all students, particularly those with multiple minority identities.

1. Monitor and address any student’s implicit or explicit alienation within the class’s social structure. Two factors often associated with prejudice and discrimination are the type of difference and its visibility.

The greater the minority stigma or its visibility, the more likely a student will encounter isolation or other forms of discrimination. Teachers must be vigilant in observing social interactions within the classroom.

2. Use respectful terminology when referring to students and refrain from referring to a student’s minority status unless necessary.

As music educators, we can do much to promote the image of minority students by using appropriate terminology in our teaching and communications with others, and by not calling attention to a student’s differences except in ways that promote understanding and inclusion.

“There is no such thing as a single-issue struggle because we do not live in single-issue lives.”

—Audre Lorde 3. Learn about the history and experiences of multiple minority students. It is important that teachers learn about the lives of students to understand the role history has played in their educational experiences and how society views their minority identities.

4. Acknowledge students’ talents and abilities. Although it may be important for teachers to note students’ minority identities, particularly as they relate to instruction (for example, disability accommodations or language barriers), it is equally important that teachers recognize and highlight their talents and abilities.

5. Educate all students about varying cultures, religions, and other minority identities, particularly those represented in the classroom. When peers do not understand minority differences (someone’s disability or type of clothing), there is a greater probability they will exclude or ostracize their classmates.

6. Use LGBTIQ inclusive language, even with young children. Language used to describe different LGBTIQ people and by different LGBTIQ communities changes over time and can differ across cultures and generations. There will also be differences in how people individually use or define particular terms. If you are not sure, ask.

7. Maintain expectations that are high yet appropriate for all students, regardless of gender, disability, language competence, etc.

All students have the potential to learn, regardless of their minority status. A student’s learning is commensurate with a teacher’s expectations.

8. Encourage minority students to assume leadership roles. For these students to truly maximize their capabilities, their leadership potential needs to be recognized and promoted. Encourage the empowerment of minority students.

9. Encourage students to self-advocate if they are feeling marginalized or discriminated against. Students who learn to self-advocate will be better prepared for the world that awaits them after graduation.

bisexual adults. Journal of Consulting and Clinical Psychology, 75(5), 785-94.

Darrow, A. A., & White, G. (1998). Sticks and stones . . . and words CAN hurt: Eliminating handicapping language. Music Therapy Perspectives, 16(2), 81-83.

Equality (2020, June 23). Share your pride: Meet Gabe Cazares. Retrieved from https://www.equalitytexas.org/share-yourpride-meet-gabe-cazares/

10. Challenge stereotypic views of minority groups played out in the media. As teachers, we must be mindful never to propagate media-driven stereotypes in our teaching and must take advantage of opportunities to highlight realistic and affirming portrayals of minority groups.

Gay, G. (2000). Culturally responsive teaching: Theory, research, and practice. New York, NY: Teachers College Press.

Haddad, R. (2020, July 20). When you are different in two ways. New York Times, retrieved from https://www.nytimes. com/2020/07/13/us/disability-reveal.html

11. Seek advice from persons representing specific minority groups. Let them help educate you and your students. It is impossible for any teacher to know and understand all minority groups equally.

Healey, J. F., Stepnick, A., & O’Brien, E. (2019).

Race, ethnicity, gender, and class: The sociology of group conflict and change.

SAGE Publications, Inc.: Thousand Oaks, CA. Heumann, J. (2020, June 24). The Heumann Perspective with Gabe Cazares. Retrieved from https://www.youtube.com/watch?v=8gu2LpqJmc

12. Attend diversity training workshops and webinars whenever possible. We can all learn something new about the students in our classrooms and our fellow community members.

Intersectionality. (2020). Merriam-Webster.com dictionary. Retrieved from https://www.merriam-webster.com/dictionary/ intersectionality

13. Have listening sessions, a time when students can share and talk about what is happening in the classroom. Teachers are not always aware of every interpersonal interaction in the classroom.

Jones, C. (2020, May 13). Student anxiety, depression increasing during school closures. EdSource, retrieved from https://edsource.org/2020/student-anxietydepression-increasing-during-schoolclosures-survey-finds/631224 Ladson-Billings, G. (1994). The dreamkeepers: Successful teachers of African American children. San Francisco, CA: Jossey-Bass.

14. Reach out to students who are experiencing difficulties and ask what you can do to help, or ask for help from the school guidance counselor. Music educators do not always have the skills needed to address every student’s problems.

Martin, M. (2010, August 2). Low-income minorities with disabilities see services disparity, on Tell Me More retrieved from https://www.npr.org/templates/story/ story.php?storyId=128932141 Nettles, R., & Balter, R. (2012). Multiple minority identities: Applications for practice, research, and training. Springer Publishing Company: New York, NY.

15. Assign music mentors to students, particularly mentors who share the student’s multiple identities. Talking to someone who understands is often all students need, or all of us need.

Nieto, S. (1999). The light in their eyes. New York, NY: Teachers College Press.

Richards, H., Brown, A., & Forde, T. (2007).

Addressing diversity in schools: Culturally responsive pedagogy. Teaching Exceptional Children, 23(3), 64-68.

References

Robinson, N. (2016). Developing a critical consciousness for diversity and equity among preservice music teachers. Journal of Music Teacher Education, 26(3), 11-26.

Banks, J. A., & Banks, C. A. M. (Eds.). (2004).

Handbook of research on multicultural education (2nd ed.). San Francisco, CA: Jossey-Bass.

Williams, D. R., & Mohammed, S. A. (2009).

Discrimination and racial disparities in health: Evidence and needed research.

Journal of Behavioral Medicine, 32(1), 20-47.

Cochran, S. D., Mays, V. M., Alegria, M., Ortega, A. N., & Takeuchi, D. (2007). Mental health and substance use disorders among Latino and Asian American lesbian, gay, and

October 2020

33

CommitteeReports

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

I

’m sure many of you join me in mourning the loss of a great thinker, Sir

Ken Robinson, PhD, who passed away on August 21 after a short battle with cancer.

One of his quotes resonates with me as I

consider the transformation that educa-

tion is currently going through:

Human resources are like natural resources; they’re often buried deep.

You have to go looking for them, they’re not just lying around on the

surface. You have to create the cir-

Sir Ken Robinson, PhD 1950-2020

cumstances where they show themselves.

(Photo: sirkenrobinson.com)

I believe the global epidemic has creat-

ed such circumstances for all of us to dig deeper into our human resources in order

es way beyond anyone’s control may be

FMEA into his or her retirement years, we

on.” Music educators cannot depend on

building high numbers in your programs

retired or current membership in FMEA.

to, as Ken Robinson would say, “carry their tried and true methods of delivery.

Creativity and innovation have flourished

as music educators find new ways of engaging students of all ages in the joy of learning music and acquiring musical skills. Outlets for individualized creativ-

ity are being opened up. There is also something about a crisis that prompts

kindness and collaboration, and I see that happening among our music education

community. I see the word resiliency being

taken to a whole new level as music edu-

cators have had to have a plan A, B, C, and more as the 2020-21 school year unfolds.

By the time you read this article, the

major category awardees will have been

decided for the 2021 FMEA Awards Program. Normally, I would be encour-

affecting how you would normally be and CDC guidelines are restricting the

number of students in a classroom, we

believe it is best to wait until the spring

FTE count. Depending on how the pan-

decided to put a pause on that particular category for now. Since circumstanc-

34 F l o r i d a

Although at this time it is indefinite

ents, and I thank those who have partici-

embrace high-quality music programs

that provide many opportunities for stu-

dents to engage in music education. We know that many schools are employing

innovative ways to do so, and once some

celebrating the 2021 FMEA award recipipated in nominations and applications. I’d

also like to thank the awards committee members for their time and commitment in selecting this year’s awardees.

Although the stage and setting may

of the dust settles, we will be looking

look different this year, music education

for the state. So … stay tuned for further

to the educators and students who are

for those schools to hold up as models developments regarding the FMEA Music Enrollment Award.

If you have been teaching for 25 or

This award is typically self-nominated,

in a unique situation and so we have

these legends among us.

always, we will be looking for schools that

ble for the FMEA Middle/High School

with everything else this year, we are

to nudge. FMEA certainly wants to honor

what it might look like, I look forward to

the award may look a bit different. As

more years, you still have time to apply

Music Enrollment Award; however, as

Let me know if there is someone I need

demic is affecting schools, the criteria for

aging you to take a look at your October FTE count to see if your school is eligi-

want to honor that. Nominees must hold

for the Music Education Service Award.

and the process is very simple. This application is due November 3. As a reminder, there is also a designation for those

reaching the 50-year mark. If you know

of someone who has stayed active with

Music Director

must go on, and I give a standing ovation ensuring that will happen. I’d like to close

with just one more quote by the beloved Sir Ken Robinson:

There is no system in the world or any school in the country that is better than its teachers. Teachers are the lifeblood of the success of schools.

Thank you, teachers, for all you have

done and are continuing to do to ensure that music shall live!

Please take time to thank and support our 2020-2021 Corporate & Academic Partners.

GOLD PARTNERS

SILVER PARTNERS The Horn Section

BRONZE PARTNERS Cadence Music Excelcia Music Publishing Florida College

Neil A. Kjos Music Company University of Florida

Partners as of September 4, 2020.

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

October 2020

35

ExecutiveDirector’sNotes

FMEA Executive Director Kathleen D. Sanz, PhD

Saying Farewell to Two Outstanding Leaders

W

e are so saddened to have recently lost two of

FMEA’s past presidents, Byron Smith and Al

Wright. These outstanding leaders’ contributions to

The mission

of the Florida

Music Education Association is to promote quality, comprehensive

music education in all Florida schools.

our organization and the profession are recognized in this issue of the Florida Music Director. We will miss them tremendously.

Professional Development

FMEA continues to evaluate which experiences can

be provided face to face and which need to be virtual. The Board of Directors is reviewing options

carefully and will provide information as soon as it is available.

relevant experiences for our students during COVID-19. More information will be provided as soon as possible.

Legislation/Advocacy

It is critical that members go VOTE in the November election. Not only is there a presidential race, but local and state races will impact us personally and

in our classrooms. In addition, there are six constitu-

tional ballot initiatives that will need to be decided.

Review each amendment carefully to decide on the best course of action.

Numerous webinars are available for teachers at

nafme.org

under the “teacher” tab. These webi-

nars have been developed by experts in the field

along with our expert teachers. FMEA is planning

webinars focused on mental health, not only for our students but for teachers as well.

Please visit FMEA.org

for current information

on the preliminary results of the COVID-19 aerosol study by the University of Colorado Boulder and the University of Maryland.

Updated copyright information for distance

learning is available on the FMEA website. This information is pertinent to the use of copyrighted

materials and mechanical licensing. This infor-

mation was compiled by the National Federation of High Schools in conjunction with the National

All-National Honor Ensembles

Florida has many students participating in the

NAfME All-National Honor Ensembles. They will be able to participate in a virtual experience this

year, and information about the ensembles will be

forthcoming. Students auditioned and were selected from all 50 states.

Association for Music Education.

Stay Up-to-Date!

All-State Ensembles

ue to provide opportunities for FMEA members and

As we look at All-State 2021, there are two distinct experiences: the all-state audition experience and

the all-state performance and/or virtual experi-

ence. We are examining possibilities to provide

The FMEA committees are working hard to continstudents. Please be sure to read the FMEA commit-

tee reports and the component reports to stay up-to-

date on information from FMEA and the component associations.

Stay safe and healthy!

Kathleen D. Sanz PhD

36 F l o r i d a

Music Director

�

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

Officers and Directors

EXECUTIVE BOARD President

Steven N. Kelly, PhD

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

Kenneth Williams, PhD

Douglas Anderson School of the Arts 2445 San Diego Road; Jacksonville, FL 32207 (904) 346-5620; kenwms@flmusiced.org President-Elect

Shelby Chipman, PhD

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

Ian Schwindt

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

Marc Decker, DMA

Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu FEMEA President

Ernesta Chicklowski

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

Julian Grubb

Florida Gulf Coast University 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com

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

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President......................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu

Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu

FLORIDA NAfME COLLEGIATE

FSMA President ........................................................................Valerie Terry Carlos E. Haile Middle School 9501 SR 64 E.; Bradenton, FL 34212 vterrymusic@gmail.com

President....................................................................................Julian Grubb Florida Gulf Coast University, 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com Past President................................................... Katherine Attong-Mendes University of Miami; kxa395@miami.edu

FMEA COMMITTEE CHAIRPERSONS

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com

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

Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; skelly@admin.fsu.edu

Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org

Committee Council............................................................... Debbie Fahmie fahmied@yahoo.com

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

Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu

President.....................................................................Harry “Skip” Pardee Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com

Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu

Past President............................................................................Scott Evans scott.evans@ocps.net Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com

FLORIDA ORCHESTRA ASSOCIATION President................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com

Government Relations..................................................Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org

Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us

Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net

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

Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu

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

Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net

Mark A. Belfast, Jr., PhD

Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com

EX-OFFICIO MEMBERS

Florida NAfME Collegiate Advisor

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FLORIDA VOCAL ASSOCIATION President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Past President.....................................................................Tommy Jomisko tommy@fva.net

Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net

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

PROFESSIONAL DEVELOPMENT CONFERENCE

Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

FOA President

Local Co-Chairpersons Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us Melanie Faulkner—(813) 272-4461; melanie.faulkner@sdhc.k12.fl.us Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602

CENTER FOR FINE ARTS EDUCATION

FLORIDA BANDMASTERS ASSOCIATION

Director of Finance & Client Relations...............................Richard Brown, CAE (richard@fmea.org)

FMSA President

Harry “Skip” Pardee

Matthew Davis

Harrison School for the Arts 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com FVA President

Jason Locker

Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Member-at-Large

Edgar Rubio

Silver Trail Middle School 18300 Sheridan St.; Pembroke Pines, FL 33331 (754) 323-4321; merenguesax@aol.com

Exhibits Managers fmeaexhibits@fmea.org

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations........................Valeria Anderson, IOM (val@fmea.org)

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

Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org)

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

Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)

Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

October 2020

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