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
GRADUATE DEGREES
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
BACHELOR OF MUSIC in music Education Bachelor of Arts Music Entrepreneurship Event Management Music History and Literature Music History and Literature: Ethnomusicology Music Theory or Composition
PH.D. IN MUSIC EDUCATION PH.D. IN MUSIC Composition Musicology/Ethnomusicology DOCTOR OF MUSICAL ARTS Conducting Composition Performance
MINORS Music Performance Music Theory History/Ethnomusicology Jazz Studies CERTIFICATES Music in Medicine Music Performance
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.
4 F l o r i d a
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
�
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
37