Florida Music Director October 2021 by Center for Fine Arts Education, Inc

Understanding the Rhythm Section

Musical Breathing Technique:

Breathing Pedagogy and Assessment

UNLOCKING STUDENT POTENTIAL

PLUS: Prelude to the face-to-face 2022 FMEA Professional Development Conference

October 2021

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Music Director

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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

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

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds (jeannewrey@gmail.com) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales

Valeria Anderson (val@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

Contents October 2021

Volume 75 • Number 3

F E AT U R E S

Prelude to the 2022 FMEA Professional Development Conference. . . . . . . . . . . . .

8-15

Musical Breathing Technique: Breathing Pedagogy and Assessment. . . . . . . . . . . . . . 18 Understanding the Rhythm Section. . . . . . . . 28 Unlocking Student Potential: Implementing Leadership Principles in the Elementary Music Classroom . . . . . . . . . . . . . . . . . . . . 32 D E PA R T M E N T S Advertiser Index. . . . . . . . . . . . 3

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

President’s Message. . . . . . . . . . 4

Research Puzzles. . . . . . . . . . . 38

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

Committee Reports. . . . . . . . . 39

Academic Partners . . . . . . . . . 16

Executive Director’s Notes. . . . . 42

Corporate Partners. . . . . . . . . . 17

Officers and Directors.. . . . . . . 43

2021-22 FMEA Donors. . . . . . . 26

Advertiser Index The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. 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. ADVERTISER Boston Conservatory....................................................................................................................................... IFC University of Florida.......................................................................................................................................... 7 Advertisers shown in bold provide additional support to FMEA members through membership in the Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention.

October 2021

President’sMessage

Our Students Expect Our Greatest Synergy s president of FMEA, I personally

schools are required to offer music expe-

have so much potential. We must always

music education colleagues on the suc-

I strongly encourage you to offer for-

as Tri-M programs that help develop stu-

applaud and congratulate all of my

riences for our students.

keep our diverse learners in mind as well

cessful opening of our schools. We all

midable and realistic goals for your pro-

facing in regard to the COVID-19 pan-

dents, administrators, parents, and entire

music areas and across communities. I

will help shape the scope of realistic,

attended last spring here in Tallahassee

clearly understand the challenges we are demic; however, we are grateful to school

administrators, parents, students, and our communities for believing in and know-

ing the “power of unity in music” as we navigate this trying time of history across

the entire globe. I am very encouraged as schools have opened and their leadership teams are working to provide appropri-

ate facilities and sanitation procedures

to ensure the safety of their schools and music programs, which bring joy to our music students and our communities.

This past May the FMEA board

grams and allow opportunities for stucommunities to have some input, which obtainable objectives. I am often reminded of the saying “It takes an entire village to raise a child.” It is recommended

that you look toward the stars as you

build your music programs, which should include creative and unlimited activities

within your communities. All of our pro-

grams, including but not limited to gen-

eral music, choir, band, orchestra, music industry, guitar, and other specialty areas,

acknowledged the challenges music pro-

grams face in the 2021-22 school year and synergized possible strategies of support

we can provide. The focus and energy

of our discussions were amazing! We observed some of the initial social media posts of music programs, which included rehearsals, ensemble participation proto-

cols, first sounds, selection of literature, concert performance dates, and student

engagement. We collectively realized the importance of music in our schools and societies.

The effect of music in our society is

certainly huge. Many studies have shown that music affects emotions, both mental and mood stages, as well as increases participation and performance out-

comes. The aesthetic qualities of music are imbedded in every human being, which is recognized and respected by

our educational system. That is why all

4 F l o r i d a

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R. Frank Nims Middle School

dent inclusion and leadership.

Synergy can be like a magnet in our

am reminded of an outdoor concert I at R. Frank Nims Middle School. The program featured the Fine Arts Department

and included more than 200 student performers and music teachers. Nims, a

Title 1 school, presented music, art, dance, and drama presentations to the 1,000plus attendees, which included parents

and at-large community members. The program was held in front of the school. It was a real-to-life testimony of how

Shelby R. Chipman, PhD President Florida Music Education Association

2021-22 FMEA Membership:

You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.

SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education 402 Office Plaza Tallahassee, FL, 32301-2757

R. Frank Nims Middle School

“thinking outside the box” can evolve into something special that only being

creative and energetic in the classroom

can bring. That inner-city school posted

92% attendance in its school rating that

fall. Bravo to the Nims Middle School

Be prepared for any curves that may

come your way. There are support teams

in all of our FMEA component areas, FEMEA, FBA, FOA, and FVA, as well as in your school district offices.

In closing, I sincerely thank all of you

principal, staff, music teachers, and com-

who have renewed your annual FMEA

I am sure similar events are happening

one to renew his or her membership. I

munity.

around our great state in various districts.

Therefore, I am challenging everyone to clearly understand that their effectiveness in the classroom and their role within the school have profound effects within the community. Research has shown

that students respond best when they

know we are genuinely concerned about their welfare and progress. Consistency

is critical and paramount to positive out-

comes. I believe our classrooms should

reflect the populations of our schools’ general enrollment. Therefore, let all of us be cognizant of that fact and make an effort to promote a sense of caring for our

music students each day they enter our classrooms.

membership. I strongly encourage everyencourage all music teachers to visit our

FMEA.org webpage to see the various

resources available. We truly have a won-

derful professional association that will

always be focused on providing resources for our members and listening to the pulse of our membership in the realm of professional development and student inclusion.

I continue to be excited for our teachers, students, and your programs, and am certainly synergetic as our music helps to “Build Stronger Communities.” Sincerely, Shelby R. Chipman, PhD, President

Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.

CIRCULATION:

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

SUBMISSIONS:

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

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

Florida Music Education Association October 2021

AdvocacyReport

Jeanne W. Reynolds Chairwoman Government Relations Committee

the audience in the broadest sense of the word. As music educators, we have the

privilege of meeting and interacting with

large groups of people. At our concerts, community events, back-to-school nights, booster meetings, etc., we are meeting

with diverse groups of people from dif-

fering backgrounds. This is a wonderful

opportunity to respectfully engage these people in music advocacy efforts. It is

time, actually it is past time, to engage our audiences more strategically.

Music education advocacy is nonpar-

tisan. In a polarized political society, this

is clearly another superpower. By active-

I hate house cleaning.

I have heard that one large and well-

Housework has never been my long

established environmental group is ask-

messy room, I often find myself over-

writing ten short personal notes per week

suit. When faced with an exceptionally whelmed. My husband, who is great at cleaning, has a simple strategy that

works like magic. Richard says the trick is not to look at the whole room, but rather to pick a corner and start cleaning your way out. Slowly but surely you will

see progress, and before long you will be

ing volunteers to make a difference by that will be mailed to voters in selected

districts in October prior to the election. This is a doable deed, neither an expen-

some of the challenges we face, in terms

of the continuing COVID-19 pandemic, polarized national politics, global

on your own small corner. This could be

hours a month for an issue or a candidate.

Don’t be overwhelmed and think you

ply focused on one of our own advocacy corners and worked slowly and steadily to make positive change?

6 F l o r i d a

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bers to capture their thoughts about what can be written recollections or very short video clips. Collect these messages and

share them with local decision makers,

state legislators, and others. Personal, respectful messages are very powerful.

With the 2022 Legislative Session

music education. We hope to refile our

I have often written about the power

groups of students with differing back-

these larger challenges. What if we sim-

One easy, doable deed is to ask your

can make a profound difference.

think it is someone else’s job to do it. You

This list goes on. Just as Richard chooses the same can be said about addressing

education.

beginning early, on January 11, we need

of music and how each day in classrooms

a small corner to begin cleaning, I think

cating together for high-quality music

can’t make a dent in the challenges or

politics, weather-related disasters, and

environmental issues, to name a few.

the next step and involve them in advo-

music education means to them. These

You can use easy steps like this for

In this very complicated world in

if one feels a bit overwhelmed with

derful shared musical experience; let’s go

respectfully with other voters.

something as simple as volunteering two

of this strategy. One could be forgiven

Your audiences are already having a won-

students, parents, and community mem-

for the volunteers. Just voters connecting

finished, having done an exceptionally

which we live, I couldn’t help but think

efforts, you will bring people together.

sive, slick ad campaign nor a heavy lift

any issue that inspires you. Just work

thorough job.

ly engaging your audiences in advocacy

throughout Florida we inspire diverse grounds and beliefs to come together

and make music. In a previous column, I referenced this as our superpower. What

if we used this superpower for even great-

er good? Let’s think in terms of not just members of the ensemble, but also of

to be ready to advocate effectively for

Florida Seal of Fine Arts legislation, and we will need every music educator to

have a committed group of advocates ready to help us get it passed. We can

do this if we work together. It is not an overwhelming task. Just as my husband

suggests, pick something small, your own music advocacy corner, and start

working. You will be surprised at what you can accomplish.

UNIVERSITY OF FLORIDA SCHOOL OF MUSIC

WELCOMES NEW FACULTY

Thaddeaus Bourne

Silviu Ciulei

Tina Tallon:

Visiting Assistant Professor Voice

Assistant Professor Guitar

Assistant Professor AI & the Arts—Composition

UNDERGRADUATE DEGREES

GRADUATE DEGREES

PH.D. IN MUSIC

BACHELOR OF MUSIC

MASTER OF MUSIC

Performance

History & Literature

Music Composition

Conducting

DOCTOR OF MUSICAL ARTS

Music Theory

Theory

Conducting

Combination with an Outside Field

Composition

Ethnomusicology

Performance

BACHELOR OF MUSIC

Composition

History & Literature

IN MUSIC EDUCATION

Sacred Music

BACHELOR OF ARTS

Jazz Studies

Music

MASTER OF MUSIC EDUCATION (campus/online)

Entrepreneurship Event Management

PH.D. IN MUSIC EDUCATION

Music History and Literature Music History and Literature: Ethnomusicology Music Theory or Composition

INCOMING FRESHMEN AUDITION DAYS January 22, 2022 January 29, 2022

SCHOOL OF MUSIC APPLICATION

arts.ufl.edu/music

January 30, 2022 TRANSFER AUDITION DAY March 19, 2022

October 2021

2022 FMEA Professional Development Conference January 12-15, 2022

UNITY in BUILDING One Note at

We can’t wait to see you back, face-to-face, in Tampa this January!

he FMEA Professional Development

Conference is one of the largest music

education

professional

development

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

It is attended by more than 10,000 peo-

ple, including secondary music directors, elementary music teachers, music super-

visors, college students, college music teachers, school administrators, K-12 students performing in the all-state ensem-

bles, students and professional musicians

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

8 F l o r i d a

Music Director

So many reasons to participate:

« An exhibit hall with world-class exhibitors providing products

and services for music educators

« More than 2,800 music teachers and 200 administrators « More than 120 sessions, covering and students

a variety of topics for all music educators, with on-demand

access to recordings after the

« Performances and mini-concerts conference

from some of Florida’s top music

« Networking opportunities, programs

college fair, awards ceremony, and other special events

Music Education: G COMMUNITIES a Time

2022 FMEA Professional Development Conference JANUARY 12-15, 2022 Tampa Convention Center Tampa, FL

ll registration information must be entered online, beginning

September 18 (click HERE

). At the

Registration Fees

end of the online form, you will have the

Description

in with a check until one week before

Director/Member

opportunity to print an invoice to send

Preregistration Rates: Sept. 18-Dec. 11

On-Site Rates:

$58

$88

$138

$168

the preregistration deadline or to pay

Collegiate Member

the preregistration deadline.

Non-Teaching Spouse

$73

$98

their students, and chaperones as they

Paid Chaperone

$53

$73

All-State Student

$63

$93

Preconference Workshop

$58

Concert Tickets

$15

online instantly with a credit card until Please Note: To assist our members,

visit exhibit booths, all badges will

have a barcode encoded with contact information. Attendees will be able to

allow exhibitors to scan their badges rather than manually writing informa-

Retired Member

Non-Teaching Spouse of Retired Member

Free Chaperone

Tri-M Student

tion on contact cards or mailing lists

Preconference Workshop (First-Year Teacher)

positive relationship with our exhib-

VIP Member

at their booths. In order to maintain a itors who can benefit your students

VIP Preconference Workshop

sheet music, software, and more, we ask

Leadership Workshop – Chaperone

through scholarships, new equipment,

that you please provide the ACTUAL,

CORRECT MAILING ADDRESS and EMAIL for each of your students and

chaperones and do NOT simply enter

your school address or other incorrect information.

$38

$25

$68 $15 $0

Leadership Workshop – Student

$38

Student Experience – Student

$38

Student Experience – Chaperone

$38

To take advantage of early discounted rates, you must register and pay before the deadline. Note: If you are mailing a check to the FMEA office to pay for your registration, it must be postmarked early enough so that it will ARRIVE in the FMEA office before the preregistration deadline.

October 2021

2022 FMEA Professional Development Conf

Registration

director, must explain

the extenuating circumstances preventing the director from attending,

3. Refunds must be requested in writing

tration materials. The school will be

4. All requests for refunds must be

6. Student observers are not allowed to

2022.. Requests received after that

and must be submitted with regisnotified of approval.

REGISTRATION POLICIES

attend the conference. If any student

1. All participants—directors, students,

6. Concert tickets are nonrefundable.

in sessions or working for the all-state

rials if preregistered.

3. All participating students must be

ticipation in the conference may be students registered and participating

groups or pick up registration mate-

concerts are exempt from this rule.)

chaperoned. As required by FMEA

7. All school music teachers must reg-

other than a director is required for

directors and be current members of

and FSMA, at least one chaperone

ister for the conference as FMEA

the FMEA. This includes directors of

every ten (10) students or fraction

invited performing groups, mini-con-

thereof; however, FMEA policy allows

certs, and session presenters. All-state

for one free chaperone for every six (6)

conductors from Florida schools, col-

students or fraction thereof.

leges, or universities must also be

4. An additional paid chaperone may

FMEA members. No current music

be registered for (a) each six (6) stu-

teacher may register as a chaperone.

dents registered or (b) for each all-

state rehearsal site where registered students are performing.

5. If a participating student is not accompanied by the director from that student’s school, then the principal from

REFUND POLICIES

1. Full registration refunds are avail-

able for cancellation requests made through December 15, 2021.

that school must furnish a letter des-

2. No registration refunds will be made

school district who is to be in charge

15, 2021, except for emergency situ-

ignating the person from the school or

of that student. The letter should be addressed to the FMEA executive

10 F l o r i d a

Music Director

date will not be processed.

5. All refunds will be issued after the

eliminated the following year. (Tri-M

2. Only directors may register their

received no later than January 31,

observers are brought to the conference, the offending school’s par-

chaperones, and guests—must be reg-

istered for the conference.

(email is acceptable).

for cancellations made after December ations. These will be reviewed on a case-by-case basis.

conference is completed.

CHAPERONE REGISTRATION

Chaperone registration is based on the following rules:

« For each elementary student regisElementary Students

tered, one free chaperone and one

« Any additional attendees must purpaid chaperone may be registered.

chase a guest pass at on-site regis-

tration for entry into the convention center.

« For every six students registered, one

Middle School and High School Students free chaperone and one paid chap-

erone may be registered. No other chaperones may be registered until

« Any additional attendees (chaperones the seventh student is registered.

or guests) must purchase a guest pass

at on-site registration for entry into the convention center.

ference

Security Procedures

he Florida Music Education Association is working with the

« If you have students in more than one Exceptions

performing ensemble, you may pay

for a chaperone for each performing ensemble in which you have regis-

« If you have students from different tered students.

schools, you may pay for a chaperone

for each school for which you have registered students.

Chaperones are not allowed to bring other children who are not participating

Tampa Police Department and Allied Security at the Tampa

Convention Center (TCC) to enhance the conference experience for the students and attendees.

GREAT NEWS! In order to help keep attendees safe, there will

be a heightened security presence throughout the TCC and at

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

Allied Security personnel. They will be patrolling the TCC as well. The Tampa

Police Department will be at the crosswalks between Marriott Tampa Water

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

All attendees (this includes members, chaperones, and student participants)

must wear their conference badge during the conference once the authorized

in an all-state ensemble. Only registered

registrant obtains the conference packet.

ing a conference badge are allowed in and

if at all possible, to use a clear bag, similar to those used at sporting events, for

students, teachers, and chaperones weararound the rehearsal areas. Directors are asked to make sure their chaperones are aware of this policy before agreeing to

Please be prepared for random bag and/or purse searches. It is encouraged,

entrance.

Enjoy the Conference Experience.

serve as a chaperone.

Health Information

e are watching the COVID-19 Delta variant situa-

tion closely. FMEA is committed to the health and

safety of our attendees and will make every effort to develop plans and policies to instill confidence in your ability to attend safely.

At a minimum, we plan to follow CDC recommendations

and guidelines that are in place at the time of the confer-

ence.* For example, if the CDC is still recommending that

everyone in high-risk areas wear a mask while indoors regardless of vaccination status and Tampa is still a high-risk

area at the time, we will follow that recommendation and require masks in all indoor facilities.

As we get closer to the conference, the health information

Tampa Convention Center (TCC)

« TCC holds a Global Biorisk Advisory Council (GBAC) Star Facility accreditation « Frequent sanitation and disinfectant of all restrooms « Continuous cleaning of all touchpoints « Overnight electrostatic cleaning of all areas used « COVID-19 branded signage in all common areas and pre-function spaces « Maintain 6-feet physical distancing in pre-function and “Ready Together” plan

common areas

*In the event the CDC recommendations differ for vaccinated

page on the FMEA website will be updated to keep our

and unvaccinated, we plan to meet or exceed all recommendations

ference attendees informed about what to expect during the

mendations for the unvaccinated that are possible given limitations

membership, all-state students, chaperones, and other conconference.

for the vaccinated, and will attempt to implement as many recomin regard to available facilities, budget, and various other factors.

October 2021

Hotels Contracted for 2022 FMEA Professional Development Conference

January 12-15, 2022 Tampa Convention Center, Tampa, Florida

reetings! It’s that wonderful time of year when we start planning for our very

special conference event. The Florida Music Education Association has contract-

ed the following Tampa hotels for the January 12-15, 2022, Professional Development Conference. Please telephone your hotel of choice directly from the list below begin-

ning Sept. 25, 2021, at 9 am EDT. Guest rooms at the contracted rates are

available until the room block is full or until the cancellation deadline of Nov. 13, 2021, at 5 pm. If your hotel of choice is sold out, please continue to try

CLICK To learn more about the 2022 Conference

to make a reservation until Nov. 13, 2021, as FMEA attendees will periodically release surplus guest rooms.

A maximum of five (5) guest rooms may be reserved per teacher and/or parent.

Each and all rooms reserved on Nov. 15, 2021, will be charged a non-refundable,

one-night fee to the responsible credit cardholder. (Invalid credit cards risk a reservation cancellation.)

We urge any guest holding surplus reservations/rooms to cancel excess reservation(s) as soon as possible and no later than 5 pm on Nov. 13, 2021, and you must

secure a cancellation confirmation number. (This courtesy will make surplus rooms available to other guests.) In order to receive complimentary rehearsal

and meeting space, you should book guest rooms in the hotel you are using for your group functions.

NOTE: FMEA IS NOT offering a housing bureau service. All participants MUST call

the hotels directly beginning Sept. 25, 2021, at 9 am EDT and request the “Florida Music

Education Association” room block rate and confirm the guest room rate posted below.

12 F l o r i d a

We look forward to seeing you in Tampa! Music Director

ROOM RATES HOTEL – Cutoff date: 11/13/21

Single

Double

Triple

Quad

Barrymore Hotel Tampa Riverwalk

111 West Fortune Street, Tampa, FL 33602 (813) 223-1351; Group Code: FMEA Comp. internet; comp. self parking

$152

Courtyard by Marriott Downtown Tampa

102 East Cass Street, Tampa, FL 33602 (813) 229-1100, ext. 1; Group Code: FMEA Comp. internet; $22 valet only

$164

DoubleTree by Hilton Tampa Airport Westshore

4500 West Cypress Street, Tampa, FL 33607 (800) 514-3956; Group Code: FME Comp. internet; comp. parking

$150

Embassy Suites Downtown

513 South Florida Avenue, Tampa, FL 33602 (813) 769-8300; Group Code: FMEA Comp. internet & breakfast; $24 valet only

$256

$266

$276

Embassy Suites Tampa Airport Westshore

555 North Westshore Blvd., Tampa, FL 33609 (813) 875-1555 #1801; Group Code: FME or FMEA 2022 Comp. internet, self parking, & breakfast

$200

$210 (up to 5 in room)

$220 (up to 6 in room)

Four Points by Sheraton Suites Tampa Airport Westshore

4400 West Cypress Street, Tampa, FL 33607 (800) 368-7764; Group Code: FMEA Comp. internet & self parking; comp. shuttle to Tampa airport

$146

Hampton Inn Tampa Downtown Channel District

1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 2; Group Code: FME Comp. internet & breakfast; $15 self parking

$196

Hilton Downtown

211 North Tampa Street, Tampa, FL 33602 (800) 445-8667, ext. 1; Group Code: FMEA $9.99 internet (comp. for HH); $35 valet

$220

Home 2 Suites Tampa Downtown Channel District

1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 1; Group Code: FME Comp. internet & breakfast; $15 self parking

$221

200 North Ashley Drive, Tampa, FL 33602 (888) 236-2427; Group Code: FMEA Comp. internet

$225

$245

700 South Florida Avenue, Tampa, FL 33602 (888) 789-3090; Group Code: FMEA Comp. internet for Bonvoy members; $32 overnight valet; $20 daytime valet

$211

725 S. Harbour Island Blvd., Tampa, FL 33602 (888) 236-2427; Group Code: FMEA Comp. internet; $30 valet only

$211

Sheraton Tampa Riverwalk Hotel Tampa Marriott Water Street Hotel (formerly Marriott Waterside) Westin Tampa Waterside

October 2021

2022 FMEA Professional Development Conf

Concert TIckets All Concert Ticket Sales Are Final. No Refunds or Exchanges.

Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window.

tickets for any all-state concert they

7. General ticket sales for all-state con-

3. There are no free or allotted tickets.

at the FMEA registration desk. There

wish to attend.

All concert attendees must either wear their conference badge or purchase a ticket.

4. A director who preregisters online

If paid for online, these tickets will be

of ensembles that are performing in

tion package.

1. Registered (BADGED) attendees do state concert. This includes directors/

nonregistered attendees for concerts

spouses, performing all-state students,

all-state students during the on-site

dent members, retired members, and

6. A director with all-state students may

not require tickets to attend any all-

purchase all-state concert tickets for

members, directors’ non-teaching

in which he or she has registered registration process.

purchase additional concert tickets for

your conference registration.

nonregistered attendees for concerts

attendees (parents, family members,

dents at the on-site registration desk

guests, etc.) are required to purchase

time.

9. For entrance, ticket, and concert pur-

5. A director who registers on site may

2. All nonregistered (NONBADGED)

person to purchase tickets after this

attendees for concerts in which he or

preloaded into the director’s registra-

VIP guests that you entered as part of

any other registered attendee be the

8. All ticket sales are final. Concert tick-

she has registered all-state students.

registered chaperones, collegiate stu-

is no requirement that the director or

may reserve and prepay for all-state

concert tickets for nonregistered

ALL-STATE TICKET POLICY

certs will begin at 11 am on Thursday

in which he or she has performing stu-

or at a designated ticket sales location at anytime.

ets are nonrefundable.

poses, a concert is defined as the pair

the same venue in a common, defined

block of time. An example of a concert for purposes of entrance, ticketing,

etc., is the 1 pm concert on Saturday for the All-State Concert Orchestra and the All-State Concert Band.

CONCERTS AT THE STRAZ PERFORMING ARTS CENTER

« Registered

(BADGED)

conference

attendees do not need tickets. Badged attendees will be handed a ticket to enter the concert outside the entrance

« Nonregistered

to the Straz Performing Arts Center.

conference/concert

attendees (parents, family members, guests, etc.) may purchase tickets for

any Straz concert at $15 per ticket at the FMEA registration desk between 11 am on Thursday and 7 pm on Friday.

On Saturday beginning at 9 am, all

remaining tickets for Straz concerts

will be sold at the Straz Performing Arts Center ONLY.

Note: Directors need to notify persons

for whom they have already purchased a

14 F l o r i d a

ticket. Tickets are nonrefundable. Music Director

ference Michael Antmann, EdD Chairman, Student Development Committee

FREQUENTLY ASKED QUESTIONS

Do I get free tickets for my students’ family members to attend the concert?

No. You can pre-order and pay for their tickets when you preregister for the concert, but there are no free tickets.

Can I get free tickets to any concerts?

FMEA Student Conference Experience

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

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

For concerts at the Straz Performing Arts Center,

FMEA Tri-M Conference Experience

before they walk in the door.

Can I buy extra tickets anytime?

Experience and the Tri-M Conference Experience.

the conference, you may purchase tickets at

access to the annual conference to students from throughout the state.

anytime during the regular registration hours.

tors, college representatives, and incredible performing groups. These

at 11 am on Thursday.

with their high school music programs. The program will take place

There are more family members and guests

Conference. Students will participate in workshops, observe rehearsals,

registered attendees with their conference name badge will be handed a ticket immediately

If you are an FMEA member registered for

he Florida Music Education Association offers two programs to make our conference accessible to students who may not have an

opportunity to attend as an all-state student: the Student Conference

The purpose of the FMEA Student Conference Experience is to expand

the computers in the on-site registration area

Participating students will interact with amazing clinicians and educa-

Everyone else may purchase tickets beginning

students will have memorable experiences they can take back and share

coming to watch my all-state student than I

have tickets. How and when do they get tickets?

Extra tickets may be purchased when general ticket sales open. Tickets will be sold at the main registration area and cost $15 each.

on Thursday and Friday of the 2022 FMEA Professional Development attend College Night, and engage in networking and social activities with their peers.

The purpose of the FMEA Tri-M Conference Experience is to provide

students with experiences that will build their leadership and advoca-

cy skills, as well as to expose them to the experiences available at the annual conference. Tri-M participants will be involved with portions of

Does my 2-year-old or 3-year-old need to buy

the Student Conference Experience. Tri-M students must preregister for

Everyone who will be taking up a seat will need

grams require chaperones to be present at all times.

sitting on an adult’s lap for the duration of the

and schools can only submit students for one of these programs. Details,

dren who are old enough to sit in their own seat

site. Please feel free to contact me with any questions.

a ticket?

a ticket. Babies that are being held by an adult or concert are welcome without a ticket, but chil-

the conference and should follow the Tri-M student schedule. Both pro-

One teacher per school may nominate students for these programs,

including requirements and deadlines, can be found on the FMEA web-

will need a ticket.

October 2021

Please take time to thank and support our 2021-2022 Academic Partners.

GOLD PARTNERS

BRONZE PARTNERS Cannon Music Camp - Appalachian State University Orlando Philharmonic Orchestra

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Partners as of September 7, 2021.

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

16 F l o r i d a

Music Director

Please take time to thank and support our 2021-2022 Corporate Partners.

GOLD PARTNERS

SILVER PARTNERS

The Horn Section, Inc. Cardinal Digital Marketing Cathy’s Choir Class Excelcia Music Publishing Head’s House of Music

BRONZE PARTNERS

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September 2021

M USIC A L BR E AT H I NG T EC H N IQU E

Breathing Pedagogy and Assessment by Víctor Manuel Rubio Carrillo

M Musical Breathing

The Technique

to breathing. Its purpose is to synchronize technical

The first music education research on musical breathing

Engaging in a musical breath is an artistic approach

procedures based on human anatomy and physiology with an embodied intention to communicate emo-

tions. Additionally, musical breathing can be transmitted through traditional music notation to facilitate its practice

and development. It is supported by a music and breathing philosophy where both elements are an invigorating vital force (Hall, 1982; Ramacharaka, 1932). Contemporary

research on music education shows that the application

of musical breathing positively impacts music performers and music educators (Rubio Carrillo, 2020a, 2020b).

To engage in a musical breathing process, one needs

to integrate traditional breathing methods employed in

Posture, Intention, and Flexibility

technique provided a model with three main components (Rubio Carrillo, 2020a). First is the focus on posture, intention, and flexibility. Postural considerations are essential; deviations from a balanced posture can

compromise the breathing system and reduce its effec-

tiveness. Intention implies a conscious affective message

that is transmitted through a musical breath. Flexibility refers to an openness to activate a musical breath while engaging in other activities; it also pertains to the necessary muscular flexibility (principally from the abdomen, ribcage, neck, and back).

singing, wind instruments, and conducting with a holistic

Airway Passages and Muscular Control

uses (for more examples, see Jordan et al., 2011; Olson,

which are the nose, mouth, and respiratory tract. For this

perspective regarding everyday benefits and other artistic

2009; and Sellers-Young, 2001). This integrated approach

to breathing combines traditions to forge a contemporary musical breathing system that is anatomically, physiologically, and psychologically sound for peak breathing performance.

18 F l o r i d a

Music Director

The second component is the control of airway passages, control, the musician regulates how to breathe in and out.

The inhale can occur through the nose, mouth, or both

simultaneously—the same for the exhale. The airway passages’ control allows musicians to create an array of Continued on page 20

September 2021

MUSICAL BREATHING TECHNIQUE

Figure 1

Abdominal Breathing

Continued from page 18

inhale/exhale combinations to draw upon depending on the task at hand.

Once you have gained proper control

of the airway passages, you can turn your attention toward the muscular control

methods. The main underlying mecha-

nisms to control are the abdominal (see Figure 1), intercostal (see Figure 2), and

clavicular (see Figure 3). We can engage with them independently or simultane-

ously. A full breath occurs when all three mechanisms are involved.

Musical Breathing Range and

Note. Resting position (left). Inhaling while expanding the abdomen (right). Figure 2

Intercostal Breathing

Breath Cycles

Once the muscular control methods are mastered, we can maximize our musical

breathing range by regulating the air

volume we take in and out of the lungs. Our full breathing range is approximate-

ly 5,000 ml (imagine this as if it were

five octaves on a keyboard); our normal breathing is around 10% of that (equivalent to half an octave). That means we have

more than four “octaves” of breathing range that we commonly do not engage

with unless we are practicing music or other physical exercises. Learning to control our full musical breathing range and

our breathing intensity can substantially improve our breath control.

Note. Resting position (left). Inhaling while expanding the ribcage via the intercostal muscles (right).

Figure 3

Clavicular Breathing

When all the described components are

integrated, we engage in complete breath

cycles (inhale-exhale sequence). Unlike other animals, we have considerable vari-

ability in our breath cycles. For instance, we do not have to always breathe in

and out in that particular order. We can approach breathing creatively. For exam-

ple, we can breathe in, retain, breathe in again, breathe out, retain, breathe

out again, which is a form of reversing

our cycles. Any possible combinations of inhaling, retaining, and exhaling are

possible and can further our technical control.

20 F l o r i d a

Music Director

Note. Resting position (left). Inhaling while raising

the chest with the clavicles (right).

Figure Photos: Víctor Manuel Rubio Carrillo

Well-Being, Flow, and

for reflection helps you think about poten-

From a follow-up research study on musi-

musical activity and everyday life.

Vital Capacity

cal breathing, we now know that using this

The Pedagogy

musicians’ mental well-being (defined as

help you improve your musical breathing

and everyday activities can cultivate

The musical breathing assessment can

optimism in life, the attitude of being able

controls. By improving the ratings on each

relaxed, and an energetic feeling; Rubio Carrillo, 2020b). Also, using it actively

while doing other activities does not necessarily interfere in those tasks (such as

driving, listening to lectures, preparing presentations, reading). Most important, while playing string instruments, per-

experience (O’Neill & McPherson, 2002). Furthermore, musicians who can manage

their musical breathing range have an increased vital capacity compared to the

the average person, meaning their breath maneuvering performs better, aiding in

physiological processes and mental activity (Fried & Grimaldi, 1993).

Musical Breathing Technique Assessment

description of previous breathing training

allows you to reflect on your breathing journey or get to know the student bet-

ter. A series of primary airway passages’ controls are then performed, followed by engagement of the muscular mechanisms

relevant to the technique. Finally, a space

awkward.

again while expanding your ribcage.

You will notice you have more room to take in the air despite the last feeling of being full. Hold in that position

and learn to feel calm with the added

« From the previous position, inhale pressure.

The notated exercises (see Appendix 2)

again by raising your chest. Similarly,

ibility, and creativity concerning your

you will feel that you can max out

musical breathing. They facilitate the

your breath despite the last feeling of

visual representation and can help you

« Exhale everything and relax. « Repeat the exercise but transitioning being full. Hold in that position.

manipulate your musical breathing at will. Additionally, they can help you gain a more refined control by reading breath-

from steps 2-3-4 seamlessly without

ing exercises through musical notation.

holding.

The exercises provided here can help you control your airway passages, your breathing musculature, your musical

Expedited Learning

and expressiveness with which you per-

provided by the musical breathing assess-

By learning to control the mechanisms

breathing range, as well as the intensity

ment, learning to breathe effectively can

form.

is to engage your full breathing capaci-

mance or to evaluate students. First, a

« From the previous position, inhale

cises that can help you.

main components of your breathing techassess your musical breathing perfor-

ic tension that does not need to feel

your breath control. Here are some exer-

The Full Breath Achievement

nique. You can use the measure to self-

that internal pressure; it is a dynam-

exercises to work on various elements of

The musical breathing assessment tool (see Appendix 1) allows you to check the

position. Learn to relax while feeling

Additionally, you can perform notated

can help you gain enhanced control, flex-

of time, and an intrinsically rewarding

ing) and hold your breath in that

ble to develop your musical breathing.

mal state for musical performance that

of controlling outcomes, a distorted sense

pressure (like you cannot keep inhal-

ness of the control mechanisms possi-

Notated Exercises

involves focused concentration, a sense

men until you feel the internal air

of the components, you will gain aware-

cussion, and keyboards, it can enhance a state of flow, which is considered an opti-

« Stand up with a balanced posture. « Inhale by expanding only your abdo-

ratory system, try the following exercise:

tial uses of breathing throughout your

technique model in music performance

to resolve problems, the capacity to feel

breath that engages all parts of your respi-

be expedited. You can save years of self-

doubt regarding effective breathing by

precisely knowing which muscle groups

The purpose of achieving a full breath

to activate for specific breathing tasks

and by gaining full control of your airway

ty or musical breathing range; however,

passages. Learning to use your breath

this might not be necessary for all musi-

effectively will allow you to live its bene-

cal behaviors. For instance, singing does

fits beyond musical performance.

not require you to actively engage your

clavicle breathing; preferably, a flexible approach to intercostal and abdominal

Applications

better understand how to avoid engaging

Musicians who applied musical breath-

control is recommended (Miller, 1996). To

Instrumental Performance

certain parts of your breath, it is necessary

ing in their instrumental performance

to learn to control them. To practice a full

Continued on page 22

October 2021

MUSICAL BREATHING TECHNIQUE Continued from page 21

mentioned they felt a stronger connection with the music they played (Rubio Carrillo, 2020b). It helped them relax and

concentrate with more focus, which facil-

itated a sense of ease while performing. In ensembles, musicians reported they could synchronize better while perform-

ing. Furthermore, when musicians who applied musical breathing in their playing were compared with musicians who did

not, they were more accurate thanks to the constant breath support that helps

regulate the body’s physiological needs (Rubio Carrillo 2020a).

As mentioned earlier, states of flow can

be enabled by applying musical breathing. It is important to remember that

musical breathing applies beyond wind

instruments. It can be coupled creative-

ly with any instrumental family. In the case of air-dependent instruments, however, the flexibility of musical breathing is restricted by the necessity of maintaining

in your breath while reading, writing,

an air column for tone production.

walking, thinking, or undergoing stress-

Vocal Performance

estimating the power of your breathing.

are strict requirements for the breath-

vitality flourish!

Although vocal pedagogy deals with

Ecuadorian contemporary

and breath control, the musical breath-

researcher Víctor Manuel

understand the breathing process and its

going PhD studies at the

the vocalist can feel and isolate the neces-

is chair of the Musical

vocal requirements.

Research Network of the Americas. He holds

Everyday Activities

contemporary music.

ing can strengthen the performance

References

Similarly, in vocal performance, there ing system to support vocal production.

ful situations. Be cautious about under-

It is better to use it musically. Let your

similar notions of intention, connection,

musician, educator, and

ing technique can help a singer better

Rubio Carrillo is under-

multiple control mechanisms. In this way,

University of Miami. He

sary breathing responses to fulfill intense

Learning Community, part of the Action the MM in music education and the BA in

Just like engaging with musical breathof the musical arts, it can also help

the performance of everyday tasks.

Maintaining constant musical breath-

ing implies being active and intentional

22 F l o r i d a

Bloch, S., Orthous, P., & Santibanez, G. (1987). Effector patterns of basic emotions: A psychophysiological method for training actors. Journal of Social Biological Structure, 10(1), 1-19. https://doi.org/10.1016/01401750(87)90031-5

Music Director

Fried, R. & Grimaldi, J. (1993). The psychology and physiology of breathing in behavioral medicine, clinical psychology, and psychiatry. Plenum Press. Hall, M. P. (1982). The therapeutic value of music: Including the philosophy of music. Philosophical Research Society. Jordan, J., Moliterno, M., & Thomas, N. (2011). The musician’s breath: The role of breathing in expression. GIA. Miller, R. (1996). The structure of singing. Schirmer. Olson, M. (2009). Musician’s yoga. Berklee Press. O’Neill, S. A. & McPherson, G. E. (2002). Motivation. In R. Parncutt, & G. E. McPherson (Eds.), The science and psychology of music performance (pp. 31-46). Oxford University Press. Ramacharaka, Y. (1932). The Hindu yogi science of breath: A complete manual of the oriental breathing philosophy of physical, mental, psychic, and spiritual development. Yogi Publication Society. Rubio Carrillo, V. M. (2020a). Musical breathing education for guitarists. Research Perspectives in Music Education, 21(1), 35-47. Rubio Carrillo, V. M. (2020b). Musical breathing education with music educators [Manuscript in preparation]. Department of Music Education. University of Miami. Sellers-Young, B. (2001). Breathing, movement, and exploration. Applause.

Appendix 1

Musical Breathing Technique Assessment Previous Training: Please detail your previous experiences concerning breathing training.____________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ Airway Passages (Silent Control): Perform the following tasks silently. Please inhale and exhale through your nose.

1 2 3

Please inhale and exhale through your mouth.

1 2 3

Please inhale through your nose and exhale through your mouth.

1 2 3

Please inhale through your mouth and exhale through your nose.

1 2 3

Please inhale and exhale through both your nose and mouth simultaneously.

1 2 3

Breathing Muscles Control Clavicular

Please take a breath while engaging solely the muscles attached to your clavicles.

1 2 3

Please elevate the muscles attached to your clavicles without engaging your breathing.

1 2 3

Abdominal Please take a breath while engaging solely your abdominal muscles.

1 2 3

Please expand and contract your abdominal muscles without engaging your breathing.

1 2 3

Intercostal Please take a breath while engaging solely your intercostal and dorsal muscles.

1 2 3

Please expand and relax your intercostal and dorsal muscles without engaging your breathing.

1 2 3

Intention How do you think breathing can be performed with an emotional intention?_________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ How would you say breathing can be used to communicate emotions with others?____________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ How can breathing be used to achieve specific emotional states?____________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ Scoring Key 3 = Performs the task with ease and comfort; there is no problem isolating the required task from other mechanisms.

1 = The task is performed with difficulty, it is uncomfortable, and there is a struggle to isolate it from other mechanisms.

2 = Performs the task with ease, but displays an uncomfortable pattern and struggles to isolate it from other mechanisms.

October 2021

MUSICAL BREATHING TECHNIQUE Continued from page 23 Appendix 2 Exercise 1 In this exercise, the objective is for you to develop control

signal an exhale. A minus sign (-) means breath retention

from your nose and mouth while controlling the rhythm

cise, try changing the (N) for the (M); thus, start by inhal-

over your airway passages through inhaling and exhaling and dynamics (breath intensity). Where you see an (N),

use your nose; where you see an (M), use your mouth. One comma (,) represents an inhale, while two commas (,,)

before an exhale. Once you get comfortable with the exering through your mouth and exhaling through your nose.

Ideally, perform the exercises at 60 BPM or less; if it is too difficult, try 80-100 BPM.

Exercise 1.1 This exercise is a variation of Exercise 1. It requires you to

alternate your inhale and exhale between nose and mouth. Once you get comfortable, change the (N) and (M); that

way, you start inhaling with your mouth. Both exercises (1 and 1.1) also help you build your musical breathing range.

Exercise 2 These exercises have the objective of helping you control

abdomen in a fast motion. Then, perform long breaths iso-

out through your mouth in eighth notes, using just your

breathing.

your breathing musculature. Start by breathing in and

24 F l o r i d a

Music Director

lating your intercostal muscles, followed by your clavicular

Exercise 2.1 This exercise adds challenge by inhaling through both your

nose and mouth simultaneously and engaging your abdom-

inal and intercostal breathing. Additionally, it challenges

you to keep your ribcage open while performing the eighth notes using your abdomen.

Exercise 3 The following exercises draw from physiological research

expressive marks notated over the figures. The performance

connect, through breathing, with our emotions. To perform

expressions) should accompany it. A plus symbol (+) means

on acting (see Bloch et al., 1987, for more). The objective is to

these exercises, you need to connect profoundly with the

should not only be internal, but gestures (such as facial breath retention before an inhale.

Exercise 3.1 Like Exercise 3, the objective is to explore the range of emotions by using your musical breathing. In this case, you have

more than two emotions. Think of yourself as a performing

artist and work toward authentically regulating your emotions at will.

September 2021

FLORIDA MUSIC EDUCATION ASSOCIATION 2021-2022 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, 2021, through September 7, 2021. MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

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SUSTAINERS $100 – $999 Carlos Abril In Honor of Dr. Patricia Flowers Andre Arrouet Katarzyna (Kasia) Bugaj Dale Choate In Memory of Linda Mann Alice-Ann Darrow In Dedication to Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Dr. James Croft Anna Marie Friars In Honor of Dr. Andre Thomas Stanley Hoch Dennis Holt Marsha Juday Steven Kelly Carlton Kilpatrick In Honor of Cynthia Berry Sheila King In Memory of John W. King Martin Kivell In Memory of Mel Schiff Jason Locker In Memory of June M. Hinckley Robert McCormick Carolyn Minear John Nista Douglas Phillips In Memory of Dr. Bobby L. Adams & Mr. Lawrence W. Phillips, Jr.

26 F l o r i d a

Music Director

David Pletincks In Honor of Alexis & Jonathan Pletincks Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers Janice Roberts In Memory of Mel Schiff Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Kathleen Sanz In Memory of June M. Hinckley J. Mark Scott In Honor of Dr. Andre Thomas & Dr. Judy Bowers D. Gregory Springer Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Ira Strachman In Memory of Mel & Sally Schiff Richard Uhler Howard Weinstein In Memory of Barry Weinstein David Williams William Zoch In Memory of Mel Schiff Anonymous (1) In Dedication to Steve & Mary Catherine Salo

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October 2021

Understanding the Rhythm Section

by Jeremy L. George

he rhythm section is arguably the most important

section of the jazz band, and as a jazz adjudicator and

clinician, I have found it to be the least understood by secondary-level music educators who have little or no expe-

rience playing jazz music. To have a successful jazz band,

the director must develop a thorough understanding of each instrument and its functions within the section. This

article will serve as a resource for secondary-level music educators to enhance their knowledge of how the rhythm section functions in the jazz ensemble.

Breaking Down the Rhythm Section

The rhythm section plays three critical roles in the jazz band: to serve as the rhythmic and harmonic backbone

of the band, to accompany a soloist, and to act as an extension of the horn section (by doubling horn parts). In

order to fulfill each of these roles, players and the teacher must possess a thorough understanding of how their

instrument works within the rhythm section. To better explain how the rhythm section works, the rhythm sec-

tion can be divided into two subsections: the timekeepers and the harmonic voices. The timekeepers focus on the groove and feel, while the harmonic voices focus on the harmonic qualities and textures of the music. Note that

the personnel of each subsection can change, and some members of the rhythm section can simultaneously serve as timekeepers and harmonic voices. Essentially, the role

that each instrument plays depends on which elements they contribute to the music.

28 F l o r i d a

Music Director

Continued on page 30

October 2021

Rhythm Section Continued from page 28

« Comp in the middle of the keyboard. Stay out of the bass. « Take turns comping with the guitar. « Fill the empty spots in the music. « Use the sustain pedal sparingly. « 3rds and 7ths are your best

Piano

The Timekeepers

In a jazz band, the pulse is anchored by its

lowest and highest frequencies; the acoustic bass and the cymbals on the drum set

are the timekeepers. Because these instru-

ments anchor the pulse, each player must always listen to the others, play in time,

and balance their rhythmic patterns so

they work together as one cohesive unit. I like to call this “locking in.” When the

timekeepers lock in the time, it creates a strong foundation for the band. Without a strong foundation as the timekeepers

accompany the ensemble, many other musical aspects will suffer. The Groove

When the time is locked in, the next priority of the timekeepers is to establish

and maintain a solid groove. To establish a solid groove, each player must actively listen to the others as they play to determine how they should support each other. For example, if a piece is written in a

swing style and the drummer plays four to the bar (four quarter notes in each measure) on the ride cymbal, the bass player

should play long, even quarter notes that

match the sustain of the ride cymbal. On the other hand, if the drummer decides

to swing on the hi-hat, the bass player should play in a two-beat style, consisting

of long, evenly sustained half notes that match the sizzle of the hi-hat.

friends. Get to know them.

« Pull the strings and maintain

Bass

good pressure on your

« While walking, play long, sustained quarter notes. « Lock your quarter note with the fingerboard hand.

drummer’s ride cymbal, hi hat,

« Place your amp on a chair behind and bass drum.

you and make sure your EQ is

« Accent the important beats in the flat.

groove.

« Play with lots of sensitivity. « The right hand and left foot are the timekeepers. « Use the right foot (kick) for setups. « You are the leader of all dynamics; learn to control the band. « Learn to use brushes. « Always play hi-hat (left foot)

Drums

loudly.

The Shuffle

When playing jazz, the drummer con-

trols the foundation of swing with their shuffle pattern on the ride cymbal or the

hi hat. The shuffle pattern provides an

ornament to the long quarter notes of the bass. While playing the shuffle, the

drummer should play strong on beats 2 and 4 with their foot on the hi-hat. These accents help to emphasize the swing pat-

tern of the ride cymbal. In addition, while swinging on the cymbals, the drummer

should play soft quarter notes on the bass

30 F l o r i d a

Here are some extra tips for your players’ success:

Music Director

« Take turns comping with the piano. « Articulate like Freddie Green. « Always defer to the piano player when playing chords. « Stay away from power chords unless the piece calls for it. « Turn up your volume only for

Guitar

solos; while comping, you should be felt and not heard.

drum to help punctuate the articulation of the bass. This technique is called feathering the bass drum. While feathering, the

drummer should play one volume level under the bass. This provides a punctuation to the bass notes and helps to drive

the swing. When all of these elements are appropriately executed, they create a

good swing feel and a solid groove for the soloists, the ensemble, and the listener. The Harmonic Voices

The harmonic voices are the piano and the guitar. These instruments work together

to contribute to the groove being played by the timekeepers by providing depth

To better explain how the rhythm section works, the rhythm section can be divided into two subsections: the timekeepers and the harmonic voices.

change depending on the arrangement of

was the strum pattern of Freddie Green on the guitar. This pattern consisted of

four even, articulated quarter notes to

every bar with accents on beats 2 and 4, congruent with the snap of the drummer’s hi-hat. Aside from its rhythmic values, this pattern offers a simple harmonic

structure, which provides the pianist with space to play more complex harmony.

Because of this pattern’s rhythmic importance, while playing the Basie Comp, the

guitarist straddles both subsections, the

should take turns comping by alternat-

ing musical passages. For example, if a tune is in an AABA form, the comping order can be A1 piano, A2 guitar, B piano,

A3 guitar, or however the players may

decide. For younger rhythm sections, I suggest that the comping order should be

preplanned to eliminate mistakes on the bandstand during a performance. More

experienced players can make this decision in the moment on the bandstand;

meetings are necessary.

is the Basie Comp, made famous by the

The driving force of the Basie Comp

and take, the piano and guitar players

dencies and be able to come to an agree-

piano and guitar players must learn sev-

and the 1960s.

of the section. While playing in the give

they will learn each other’s musical ten-

many different comping styles, but one of

ics and heavy swing between the 1930s

to the harmonic and rhythmic elements

tune. As they continue to play together,

For harmonic flexibility, both your

band known for its wide range of dynam-

style just as the piano does, offering more

meeting to go over their chords on each

as required by the composition. There are

Count Basie Orchestra, a prominent big

but rather in a more rhythmic comping

time outside of the jazz ensemble’s normal

ment in the moment, but until then these

the most commonly used comping styles

longer plays in the Freddie Green style,

ommend that the harmonic voices take

and color to the music through comping— accompaniment with chord progressions

give and take.” Here, the guitar player no

however, it can be helpful to talk through the tunes and discuss comping roles prior to the performance. When playing the

eral ways to voice chords, as they can

give and take, active listening and prior

planning are a must, as this style is not

the music and the size of the ensemble.

as clearly structured as the Basie style

For players with less experience, start

of comping and can easily sound clut-

with simple two-note voicings like the

tered. Regardless of the comping style you

3rds and 7ths. These are the most import-

choose, always remember that the rhythm

ant notes to play because they outline the

section must swing, and each member of

harmonic function of the sound. As your

the section must listen and work together

players begin to feel more comfortable,

to create a strong foundation for the band.

slowly start to add extensions, like 9ths,

Most important, as a jazz musician, you

11ths, and 13ths (be mindful, as they add more notes to their chords, they must omit

must listen to jazz regularly. As you listen,

the best clarity of sound, strive to comp in

like the record. Do this in small chunks

imitate and try to play your part exactly

some chord tones like roots and 5ths). For

daily, and you will see tremendous

the middle of the keyboard (between C3

improvement in your groove, rhythm,

and C6), as the lower register can become

and comping to create a strong founda-

too muddy and the higher register too

tion for the jazz band.

thin.

timekeepers and the harmonic voices.

The Give and Take

Jeremy L. George is a graduate teaching

The Harmony

guitar, the harmonic voices must always

suit of the PhD in music

When two chordal instruments play

together, the possibility for harmonic

clashes to happen increases exponentially.

Therefore, as the harmonic voices comp, each player must listen and focus on their

voicings to make sure their note choices agree. For harmonic clarity, I highly rec-

assistant at Florida State University in pur-

Because of the nature of the piano and the

education. He has served

be strategic about when they play, or they

as a music educator for

risk getting in each other’s way. Unless

10 years. He is an FBA

they are taking the Grant Green approach

adjudicator and jazz cli-

(where the pianist comps for all solos),

nician who maintains an

it can be musically effective for the har-

ambitious gig and clinic

monic voices to alternate the comping

schedule around the state.

responsibilities. I like to call this style “the

October 2021

UNLOCKING STUDENT POTENTIAL

Implementing Leadership Principles in the Elementary Music Classroom by Shannon Stem, Chairwoman FEMEA District 6

In my music teaching career, I have had the distinct pleasure of working at two absolutely amazing schools. Both schools put a huge emphasis on empowering students to take ownership of their education, and when this happens, amazing things happen! As elementary music

teachers, we have the privilege to teach

every student (in most cases). One of the greatest lead-

ership processes that impacted every student I taught

when it was implemented in our school and my music classroom is The Leader in Me (LeaderInMe.org).

The Leader in Me process is based upon the books

The 7 Habits of Highly Effective People and The 8th Habit by Stephen R. Covey. Utilizing the same eight habits that

Covey promotes in his books, we were able to empower and challenge the students at our school to take control

of their own learning and to be stakeholders in what happens with their academic futures. “The Habits,” as the

« Habit 1 – Be Proactive « Habit 2 – Begin With the End in Mind « Habit 3 – Put First Things First

kids have grown to call them, are as follows:

« Habit 4 – Think Win-Win « Habit 5 – Seek First to Understand, Then to Be Understood « Habit 6 – Synergize « Habit 7 – Sharpen the Saw « Habit 8 – Find Your Voice (Covey, 2020; Covey, 2006)

Most often when schools implement these leadership

principles, their “specialists” fall through the gaps. This

happens because, as a process, The Leader in Me seems to

cater to the homeroom classroom on the most basic level.

In reality, we specialists have been inherently incorpo-

rating many of these principles within our field since we

began teaching. What I would like to share with you is what has worked for us at our school, in our classroom.

If you walk the hallways at any of our schools, you

will more than likely notice the teachers have classroom

jobs for our students. These jobs are something we have designed to give the students more responsibility and to give them a sense of purpose and pride.

The students have helped create the leadership roles

within our music classroom. Our leadership roles include,

« Greeter « Behavior Leader

but are not limited, to:

32 F l o r i d a

Music Director

« Room Monitor and Cleaning Crew « Bucket Filler « Instrument Leader « Song Leader « Leader in Waiting

Implementing these roles in our music classroom has

given the students a sense of ownership. It is no longer my music room, but they call it theirs … and I love that. They

are running certain aspects of our time together, and seeing them succeed, seeing them find their voice, that is

truly the best part. When they became stakeholders, the classroom climate changed and true music was made.

Many of you may find yourself teaching at a Leader in

Me school, and you may be wondering where to begin. Honestly, that was me. There aren’t a lot of resources

for us as music teachers. My encouragement to you is to start small. If students can take charge of certain tasks,

let them! After they master those, have genuine conver-

sations and see what else they might be interested in helping with. After many students find their voice, great things happen.

I know that ultimately we teach music because we love

it and we want to expose young minds to that love of music as well … but how cool is it that in the process you can also be growing young leaders that might just become

the next mayor, senator, music teacher, or youth pastor in your community or our state? Empowering students with leadership skills through music is incredible. Shannon Stem is the music teacher at

University Academy in Panama City, Florida. She graduated from Troy University with the BME. She has been teaching elementary music

for the last nine years. She serves as the dis-

trict chairwoman for FEMEA District 6, has

served on several revision committees for the Florida Teacher

Certification Exam in Music, and has served on her local music committee in multiple capacities. In 2017, Shannon Stem was

named Hutchison Beach Elementary School’s Teacher of the

Year and has since taken on roles within her district as a mentor teacher to beginning teachers and those new to the area. References Covey, S. R. (2004). The 8th Habit: From Effectiveness to Greatness. New York: Free Press, A Division of Simon & Shuster. Covey, S. R. (2020). The 7 Habits of Highly Effective People (30th Anniversary Edition). New York: Simon & Schuster.

October 2021

ComponentNews T

FLORIDA BANDMASTERS ASSOCIATION

Ian Schwindt, President

his month the article writers of the

families, our circumstances, our profes-

with “Tell us how you dance to the music

perspectives, our students … and the list

Florida Music Director were charged

that is playing in your life.” When

happen to good people.” Bad things are

goes on and on. So, how do we pick the

most traumatic things that happens to an

music of our lives with so many differ-

I first read this charge, I was not

ent music streams competing

sure how to answer it. First of

Of course, we all know that “bad things

sion(s), our administration(s), our own

for our attention?

all, I can’t dance, as wit-

nessed by anyone who

pondered

this question, I was

has ever seen me attempt

any sort of physically expressive

reminded of a verse that says,

I had ever really thought about

ever is noble, whatever is right,

“Finally, whatever is true, what-

movement. Second, I am not sure

whatever is pure, whatever is

the “music that is playing in

going to happen in our lives. One of the

individual is the loss of a loved one. Even this type of event creates multiple

streams. There is a stream that

plays this music: “Life is unfair,

and I should give up. I just can’t

go on, so why even try? Because

this loss happened to me, it is OK for

me to treat those around me badly.” But then there is another stream that

my life.” As I did think about

lovely, whatever is admirable—if

says, “I loved this person so much, and

“musics” clamoring for my atten-

worthy—think about such things.”

life. I truly am a better person because

anything is excellent or praise-

it, I realized there were many

tion, and they all were “dancing” music.

This is definitely the type of music

thing around us. Music is created by our

music stream.

Our life’s music is created from every-

that I want to dominate my life’s

I am so happy they were a part of my

of them. I am going to make sure that I make those around me feel the same

way they made me feel.” Our natural

tendency is to gravitate to the first reac-

tion and, of course, it is so important to FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

hose special moments in rehearsal are back! You know what I’m referring to. The fleeting seconds when the ensemble shares a moment of true con-

nection. As brief as each moment is, time slows as it approaches, with each second lengthening into the next. On arrival it feels unexpected because so many

grieve the loss, but then we have a choice

to make. What does that event lead us to?

I hope for all of us it is the second stream of music.

This is not easy, and it is not natural to

come to the “positive” side of every aspect of our lives, but that side is there! There is always a positive side or

prior attempts failed. But the feeling of connection is real and is felt deeply by

opportunity even if we

how important and rare true connection is. Over the last year it has been nearly

with an intention to find it

everyone. Those are the moments to which I refer. As music teachers, we know

impossible to connect in a meaningful way virtually. But now those moments are back. They give purpose to music education, provide context for the students, and enliven our musical souls.

Most of us are still facing significant challenges as we return to in-person

instruction. One of the most frustrating for me is adapting to the unknown.

Like all of you, I carefully plan performances months in advance, and nothing is more frustrating than events being cancelled or significantly modified with

little notice. What sets me at ease is when I’m in rehearsal and see the students

revitalized, eager to connect, excited to learn, and highly adaptable. I can see in their eyes that they yearn to connect and are more eager than ever to help the group arrive at those special moments.

I hope each of you is enjoying a renewed sense of connection in your class-

room. Stay safe and teach well!

34 F l o r i d a

Music Director

can’t see it right away. But and to practice looking for it, soon we find ourselves

consistently enjoying an

uplifting, inspiring, and

positive life’s music stream.

And while we will fall out of that stream and find ourselves

again in the negative stream (bad

things happen to good people),

because we are practiced at finding our

positive music, we will be able to quickly

move there again. And what an incredi-

ble place to be, as Fiyero says, “Dancing Through Life!”

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Joani Slawson, President

s you know, elementary music teach-

room that represents the culture of your

Most of the time you are the only person

relationships. Students often have a rich

ers have a unique position at school.

teaching music at your school, and you get to share music with your students for their entire elementary experience.

Building relationships year after year is one of my favorite parts of teaching

Happiness can be

class can enhance the lives of everyone at

darkest of times if

one only remembers

the school.

to turn on the light.

This year, as we face many challenges, I

into thoughtful young people. I believe

community.

this growth.

found even in the

and allowing them to share it in music

hope you use music as a way to build rela-

music teachers are an essential part of

said:

background of music in their home life,

music. I am filled with pride and joy as I watch these tiny human beings grow

As one of my favorite fictional characters

school is an essential part of building

– Albus Dumbledore in J.K. Rowling’s Harry Potter and the Prisoner of Azkaban

tionships with your students and school Let music be a light for us all!

Music is a beautiful way to build rela-

tionships. Throughout the world music is

FLORIDA VOCAL ASSOCIATION

used as an integral part of culture, and

Jeannine Stemmer, President

I hope it is part of your school’s culture.

The songs and activities we do year after

year become ways to connect with our students. Each year students ask when we

uzie’s first year of choir was during the 2020-21 school year. She was a virtual student for the entire year. Although Suzie fared well virtually, her choir

are going to sing Ode to Joy or Happy or

teacher had no idea that she has serious health issues. Suzie is on the organ trans-

see the smiles on their faces, and I know it

second-year choir class.

dance to some of our favorite folk songs. I is music that brings us together. My heart

is full of joy when I see students sharing music they learned in class when they

are on the playground at recess or when

a student who struggles in other classes finds success in my room. These moments remind me that what I do is such an important part of children’s lives.

I am also amazed when I see students

passing down songs and games to each other. I know a lesson has been a success when younger students come in and want

plant list and needs a feeding tube. This year she was placed in the intermediate Occasionally Suzie struggles to make it to class on time. Her father became

concerned when she told him that some teachers were upset about her tardiness, so he wrote this email:

Dear administrators, my daughter Suzie is a sophomore at your school this year. She has multiple health issues and we, as parents, were concerned that physical school would be too demanding on her. I am asking that you please

advise your teachers to be patient with her. She has chosen not to discuss

her illness with others because she wants to feel “normal.” We want you to know that the only reason she wants to go to school is to be in choir. Thank you, Suzie’s Dad.

This story is from an FVA member. The names and details were adjusted for

to learn a song their older brother or sister

privacy, but each of us has a Suzie story. The Suzies are the ones who recharge

ones teaching the older students, and that

Suzie stories when the days get rough, tomorrow seems uncertain, and you feel

has learned. Sometimes it is the younger

is great as well. Using music in your class-

our spirits when we feel like all of the odds are against us. Remind yourself of the

like what you do isn’t appreciated. Suzie has been waiting all day to get to your

class. She has battled through the hallways, she has conquered today, and the uncertainties of tomorrow are placed on hold as she walks through your door. Though it may seem as if Suzie is the one receiving the gift, the gift is really ours. It is my amazing privilege to encourage the best teachers in the world today.

I urge you every day to wake up, love what you do, and conquer today—because CLICK

Suzie is waiting.

October 2021

ComponentNews

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

Vivo!

A few weeks ago, my son and I hap-

pened upon the trailer for Vivo as we

were searching for something to watch

on Netflix. I had never heard of it, but the title was intriguing and the animation

While the Vivo soundtrack shares many of

a shot. As soon as the trailer started,

highlighted in Hamilton, its book is firmly

looked pretty hip, so we gave the trailer

I recognized the voice of Lin Manuel Miranda, and once the music kicked in, my first grader said, “Hey, this is like Hamilton!” OK, I admit it, we let him hear

clean portions of Hamilton because … it’s educational, right?!

Anyway, I digress. I’ve thought about

the same pop and hip hop characteristics

rooted in the Latin sounds and styles of Cuba and South Florida. I mean, if you don’t start tappin’ your feet or moving

your hips when that beat drops in the pic-

Lin Manuel Miranda

you’re not alive!

foods, customs and traditions, and yes …

ture’s opening number “One of a Kind,”

nities to explore a multitude of languages,

We’ve had the soundtrack running on

MUSIC! While listening to the music of

that exclamation, the moment my son

repeat in our house, and the more I listen

selections by the same composer, for the

blessed we are to live in such an incredi-

made a transfer between two musical last few weeks. He was right. The music of Vivo IS like the music of Hamilton, but it’s definitely NOT the music of Hamilton.

to it, the more I’ve thought about how

bly diverse state. The wide variety of cultures present in Florida provide opportu-

Vivo and dancing all around my house,

I realized I’ve always loved hearing and playing Latin music, but that love hasn’t

resulted in nearly enough Latin music being programmed for my ensembles. That’s going to change, but when I teach it,

I want to really teach it. That means going FLORIDA NAfME COLLEGIATE

Alexis Hobbs, President

back to school, doing my research, and depending on friends and colleagues who

really know the Latin culture and musical traditions to help keep me on the path to

reetings, everyone! Our annual Fall Conference, Looking to the Future, is on

Sunday, October 24, 2021, at Southeastern University in Lakeland, Florida.

righteousness!

I encourage you to do the same in

The cost of attendance is $10, and we will be providing hotel scholarships to

whatever areas you find you might benefit

We have a great lineup of presenters for this year’s conference. We are excited

year. A great way to get that ball rolling

music sessions along with live performances. This year we welcome the following

Collegiate Fall Conference this month.

selected individuals.

from a little professional development this

to announce a 4-in-1 breakout session with band, choir, orchestra, and elementary

would be to attend the Florida NAfME

« Dr. Jeffery Redding, Keynote Speaker, Choir Session « Dr. Brandon Meeks, Defying Gravity: Conquering the Fear of Parents! « Dr. Lori Gooding, Music Therapy Within Music Education/Special Education « Dr. Lindsey Williams, Meet the Music Supervisors « Ms. Emma Lines, FigureNotes « Mr. Ian Schwint, Band Session « Mr. Jason Jerald, Orchestra Session « Mr. Scott Feshanko, Elementary Music Session « First-Year Teacher Panel

The one-day event will be held October 24

presenters:

Please click HERE

to reserve your spot at the conference.

For questions or concerns, please contact me at aphobbs@seu.edu or (352) 220-2791.

36 F l o r i d a

Music Director

on the campus of Southeastern University, and your Executive Board has gathered an

all-star cast of professionals who are sure to leave you fired up about music and the

teaching profession. Be on the lookout for details on the Florida NAfME Collegiate

website, social media outlets, and in your email. I can’t wait to see you there!

“Heeeeey, lo le lo lai, lo le lo lai, lo le lo lei.

And if you like that dance won’t you clap your hands? If you like that dance won’t you clap your hands? Go!”

FLORIDA MUSIC SUPERVISION ASSOCIATION

FLORIDA ORCHESTRA ASSOCIATION

Lindsey R. Williams, President

Laurie Bitters, President

In Search of “Better” Rather Than “Best”

ast school year, our teaching looked and sounded far different

from any other year of teaching and

s music educators, we need to con-

change can be scary and cause some anx-

and the “how” of what we do to discover

“less than,” and perhaps they’re more of

change. With all of these changes we

Acknowledging tradition is important

adapt and adjust. With that in mind, I

ever, perhaps it should not serve as the

activities that will be happening this

done. Especially in light of recent circum-

learning that will take place.

in the normal routine of our daily lives,

ly grateful to have my students back

opportunity to look at things

starting to make music! Students who

perspectives? Mr. Grant’s book

while sitting in front of a screen in

about how I approach things

engaged and excited to play music

while also fostering an attitude

concentrating on fundamentals of

do what I do. I hope I have done

this is time well spent for any class

but alas, that may not have been the case.

me, “I’m even enjoying these playing

discuss strategies with our peers that will

students and I are looking forward to

serve our students and ourselves.

the rest of the year.

Reference

seeing so many colleagues at our 2021

iety, new procedures are not necessarily

required a great deal of flexibility and

“in addition to.”

experienced, we definitely learned to

practice can often be perceived to have a

and is often a great source of pride; how-

am looking forward to all the musical

ary process that expands the art of teach-

primary impetus for how something is

year and enjoying the teaching and

stances that have caused such upheaval

On a personal level, I am extreme-

tinue to invest in both the “what”

better practices rather than focus on the static idea of “best.” Using the term “best”

sense of finality instead of an evolutioning, especially teaching the arts.

These past many months have required

us to change our approaches to perfor-

might we now have a unique

in the classroom and that we are

in new ways or from different

struggled with trying to “orchestra”

has encouraged me to think

their rooms at home have come back

personally and professionally

together again. We started the year

of reflection on why I choose to

playing and performance, but I think

encourages the reader not only to be an

that as a teacher throughout my career,

during any year. One student said to

actions, moving away from the concept of

Let’s all take time to think, reflect, and

tests because I did it live!” Both the

affirm our decisions and allow us to best

our collaborative efforts throughout

mance, teaching, and assessment because of a catastrophic

event that is still present today.

Now that we are in COVID

Year 2, we can continue to expand our thought process

to seek effective and meaning-

ful ways to advance this art form with our students. In his

book Think Again, Adam Grant

active thinker but to reflect on ideas and

“this is how we’ve always done it.” I am certain we have all been in meetings or

gatherings in which the ever-pervasive “that’s how it’s always been” or “that’s how we’ve always done it” has either been

stated outright or lurked beneath the surface like the “kraken of tradition.” While

At the state level, it was wonderful

Grant, Adam (2021). Think Again: The power of knowing what you don’t know. New York: Viking Press.

FOA/FLASTA Fall Conference in

Orlando. We had Soon Hee Newbold, Brenda Brenner, and many other

amazing colleagues from around the

state share their knowledge and expe-

FMEA 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.

rience during our sessions. I hope you

were able to return home with great ideas for your classroom. I would also like to thank our vendors as

well as our Executive Committee and

FOA planning committee members for their incredible support.

October 2021

ResearchPuzzles FOR MUSIC TEACHERS

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

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

Developing Students’ Musical Independence

primary goal for many music teachers is to help their

and prescribing solutions to musical problems. Finally, critical

capable of meaningful, lifelong musical experiences. Musical

decisions for the rehearsal with substantive support” (p. 65).

students become musically independent so that they are

independence, which can be especially challenging to address in large ensembles, has been part of professional discourse for more than 50 years (e.g., D’Arms et. al, 1973; Leonhard

decision making was defined as students “making meaningful

Weidner found that all three of these areas were connected, with each influencing the other two.

To realize this model of independent musicianship, Weidner

& House, 1972; Music Educators National Conference, 1967;

observed the teachers using student-centered instructional

1969). The strategies and instructional approaches that can

modeled thought processes, for instance when solving a musi-

National Coalition for Core Arts Standards, 2014; Regelski,

best facilitate the development of individual students’ musicianship while simultaneously addressing valued group roles and outcomes may not be clear.

Educator and researcher Brian Weidner (2020) explored

this issue in high school concert bands, seeking to develop

a theory of musical independence, which he defined as “the individual’s ability to engage in musical activity on one’s

own” (p. 54). Using a constructivist grounded theory meth-

od, Weidner spent a year studying three high school concert band programs. The groups varied by the type of community

in which they existed, demographic makeup, specific curriculum, and rehearsal structures; however, all of the teachers

indicated that the development of musical independence was

an important outcome of their classes. Weidner collected data through multiple (a) observations of rehearsals and (b) interviews of the teachers and their students.

strategies that included (a) cognitive modeling—the teacher cal problem; (b) scaffolded instruction—for example, using open-ended questioning to help support students’ individual

and collective making of musical decisions, and (c) student-led music making—students led sectionals and, in some instanc-

es, developed and executed a rehearsal plan for portions of full ensemble rehearsals. Weidner concluded that “teaching for musical independence is not an either/or proposition for

the large-ensemble director and can be incorporated into traditional ensemble teaching practices” (p. 73) “by prioritizing

that each student develops skills to engage with, critique,

and value the wide range of music experiences that they can choose to pursue across a lifetime while a participant in curricular band programs” (p. 74). References

Following qualitative analysis of the observational and

D’Arms, E. F., Klotman, R. H., Werner, R. J., Willoughby, D., Dello Joio, N., & Schaeffer, J. E. (1973). Contemporary Music Project: Comprehensive musicianship. Music Educators Journal, 59(9), 33-48. https://doi.org/10.2307/3394301

pendence comprising three interrelated concepts: (1) lifewide/

Leonhard, C., & House, R. W. (1972). Foundations and principles of music education (2nd ed.). McGraw-Hill.

sion making. The teachers expressed a desire for their students

Music Educators National Conference. (1967). The Tanglewood Symposium. Music Educators Journal, 54(3), 49-80. https://doi. org/10.2307/3391187

interview data, Weidner developed a theory of musical indelifelong musicianship; (2) student agency; and (3) critical deci-

to have lifewide/lifelong musicianship that would allow them to (p. 62) throughout their current and future lives. One teach-

National Coalition for Core Arts Standards. (2014). National Core Arts Standards: A framework for arts learning. http://www. nationalartsstandards.org/

would not only be musically active but also serve as advocates

Regelski, T. (1969). Toward musical independence. Music Educators Journal, 55(7), 77-83. https://doi.org/10.2307/3392471

play music and “be musically successful as nonperformers” er mentioned a desire to develop “citizen-musicians” who

agency developed through facilitation of students’ autonomy

Weidner, B. N. (2020). A grounded theory of musical independence in the concert band. Journal of Research in Music Education, 68(1), 53-77. https://doi.org/10.1177/0022429419897616

programs, students sometimes assumed full responsibility

Email your questions and feedback to wbauer@ufl.edu

for music and music education in their communities. Student in, and ownership of, their music-making. In these band for the rehearsal process, including identifying, diagnosing,

38 F l o r i d a

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with a subject heading Research Puzzles.

CommitteeReports N

ow two months into the school year,

FMEA Awards Categories Due November 5, 2021

how’s your light doing? Are you

being brave enough to see it? Are you being brave enough to be it?

« Middle/High School Music Enrollment Award « Music Education Service Award

A reminder for you today …

For there is always light. If only we’re brave enough to see it. If only we’re

(Includes 50-Year Membership Award)

brave enough to be it.

– Amanda Gorman

Whether you are new to FMEA or a

AWARDS COMMITTEE Sondra A. W. Collins Chairwoman

longtime member, I would like to remind

tion must be involved in a music program

has stayed active with FMEA into his or

Awards Program, is an integral part of

honors and encourages alternative music

this colleague’s service. Please let me

you that the light of FMEA, the FMEA

our organization and our annual conference, connecting all areas of the FMEA

membership as well as administrators,

district leaders, school board members, music industry leaders, NAfME and FMEA leaders, and the community.

FMEA takes a special moment during the conference to celebrate individuals who have made outstanding contribu-

tions to music education—who have been brave enough to see and be the light.

The awards ceremony also plays a pivotal role for music advocacy for all those who attend. It’s a great way to showcase amazing music education models and to

advocate to others about all the exemplary music education programs and partners we have throughout the state.

Like what you hear? And now you

ask how YOU can be involved with the FMEA Awards?

Enrollment Award! Applications should be made following a school’s FTE count

in October. In order to qualify, 30% at the high school level and 45% at the middle

school level of the entire school’s popula-

It is such a highlight of our awards cere-

those alternative music courses reflected

mony when we can recognize and honor

in the schools that are recognized with

the legends among us.

the FMEA Music Enrollment Award this

The school music enrollment and

year. With such a large shift in music

education during the pandemic, you all

music education service awards are typ-

cution of new ideas for teaching music

utes to complete online. If you qualify in

ically self-nominated and take only min-

surely have been exemplary in your exe-

one of these categories and are thinking

and the overarching change in music

you don’t have the time to submit an

education delivery. It’s time to award

application, think again. It takes some-

you. If you know of a school that is offering nontraditional music courses along-

where between 5 and 15 minutes to sub-

courses, please invite them to take a

Come on y’all—most of you are probably

mit this user-friendly application online.

side quality band, chorus, and orchestra

online longer than that within the first or

look at the criteria for the FMEA MS/HS

last hour of each day. (I know I am.) You

Music Enrollment Award. Applications

can do this!

for this award are due on November 5,

I look forward to celebrating with you

2021.

Have you been teaching music for

and all the 2022 FMEA award recipients,

the Music Education Service Award, and

pated in nominations and applications

the application process is very simple. If

program by applying for the FMEA Music

retired or current membership in FMEA).

musicians out there, I hope we will see

dynamic music instruction with high so, you can be a part of this year’s awards

sonally follow up with them (must hold

the talented yet nontraditional young

25 or more years? If so, you qualify for

recruitment and retention numbers? If

know who these folks are, and I will per-

courses that are so inviting to many of

Are you part of a middle or high

school music program that offers

her retirement years, we want to honor

taught by an FMEA member. As FMEA

and I thank all those who have particiboth this year and in the past. Also,

a huge round of applause and thanks

this is you, I’d like to give you a gentle

to the members of the FMEA Awards

nudge to submit your application so you

Committee for their time and commit-

can be part of the exciting awards cere-

ment to selecting this year’s awardees.

mony in January. This application is due

As always, if you have any questions

November 5, 2021. FMEA also has a very special award that honors those reaching

about the FMEA Awards Program or the

education. If you know of someone who

tate to contact me.

nominations process, please do not hesi-

the mark of 50 years of service in music

October 2021

CommitteeReports

HEALTH AND WELLNESS COMMITTEE

Revae Douglas Ross, Chairwoman

Physical Health

e’ve all heard the quote “You can’t

from what seems like an endless supply of

referring to wellness. For many of us, it

selves to our students, we must make time

Nutrition

to address every aspect of our SPECIES

Mental Health

Intellectual, Environmental, and Social)

Stress Relief

pour from an empty cup” when

may feel like our cup is fractured all over

with only a few drops left that haven’t already seeped out. Yet, somehow, we still manage to devote ourselves to our students, providing them with the best

possible music education experience we

effort. The reality is, to fully devote our-

to commit to our wellness. It’s imperative (Spiritual, Physical, Emotional, Career, wellness.

My name is Revae Douglas Ross, and

can. What if I told you that even in these

it is a true honor to serve as chairwoman

that fractured cup and FMEA is here to

alongside our incredible committee mem-

incredibly trying times, we can repair

help us do it? As educators, it feels as if we are expected to continuously sacrifice

of the Health and Wellness Committee

bers. We are thrilled to offer support for our association in the following areas: �

Be An Exhibitor! @ RESERVE YOUR SPOT TODAY!

Exercise

Mental Health Awareness Affirmative Practices

Wellness Self Care Hobbies and Interests

Our committee plans to offer these

supports through workshops, webinars,

and sessions at our FMEA Professional

Development Conference. We will also offer you opportunities to connect socially with other members throughout the state to increase your support network.

Sometimes it feels as if devoting time to

creating a healthier relationship with ourselves is a selfish act, but actively partici-

CLICK

pating in enhancing our wellness is just as

… to learn more about Exhibiting at the 2022 Conference OR Contact Us: (850) 878-6844 Toll-Free 1-800-301-FMEA exhibits@FMEA.org

students. Our committee looks forward to

40 F l o r i d a

important as considering the needs of our

sharing strategies to help repair that frac-

tured cup. And if your cup isn’t fractured,

let’s make it a larger cup to pour from. Take a moment and ask “When was the last time I invested in myself?”

Music Director

CONTEMPORARY MEDIA COMMITTEE

David Williams, PhD, Chairman

All-State Popular Music Collective and Digital Music Showcase

he FMEA Contemporary Media Committee is excited to announce that both the Florida All-State Popular Music Collective and the Digital Music Showcase are

returning for the 2022 Professional Development Conference in January. The Florida All-State Popular Music Collective is an all-state group for students in grades 9-12, selected by audition, and

Mary Palmer, EdD, Chairwoman

erhaps more than ever before,

leadership matters. The pan-

demic has thrown our world into a spin, causing a great need for confident and believable leaders. What

is YOUR leadership brand? Do you deliver on what you say you will do?

What are you known for? What do

will include a DJ, a VJ, two or three rappers/hip-hop art-

you want to be known for?

ists, two or three vocalists, two or three guitarists, a bass

The great thing is we are on a

guitarist, two keyboardists, two drummers, and poten-

pathway of continuous growth and

tially other instrumentalists. Staff will include a director,

self-awareness. Take some time

a vocal coach, and a sound technician.

The Collective will focus on and perform mostly origi-

nal music created by the students, and it will be run using a

learner-centered pedagogical approach where the students will have significant

autonomy over the choice of literature performed. In addition to practices and per-

formances as part of the conference, students will also be expected to participate in preconference Zoom meetings to begin the planning process of creating music. Audition materials are available on the FMEA website.

EMERGING LEADERS COMMITTEE

Auditions will occur

through videorecordings, with links submitted to the FMEA website by October 15, 2021.

to consider your central purpose. What are the beliefs and values that

inform your practice? What is your

vision for the future? What is your role in realizing that future? What would you like your legacy to be? Take

achieve

steps

…

short-term

develop goals

and

(e.g.,

expanding your skills, accepting

greater responsibilities). Leverage your strengths and identify areas for

improvement. Engage with valued

The Digital Music Showcase is designed

colleagues and friends—don’t make

to encourage musical creativity, critical

yours strictly a solo act. Working

thinking, and collaboration by students

with others is part of the joy of true

in K-12 schools. Students are welcome to

leadership. Celebrate and share suc-

submit their original compositions for the

cesses together.

opportunity to have them presented at the

Like Alice (in Wonderland), we can

Professional Development Conference in

choose to wander … and eventually

January.

All Florida students in grades K-12 are eligible to participate. Students can enter

in one of three divisions: elementary (K-5), middle school (6-8), or high school (9-12). Students can submit compositions individually or as part of a collaborative group. While submissions can include any combination of instruments and

vocalists, they must prominently feature at least one digital instrument, and the

inclusion of other performing arts such as movement, dance, theater, poetry, and visual art are all encouraged.

There are three submission categories: live performance, fixed media, and

music with video. The application deadline is November 1, 2021. All the necessary information is available on the FMEA website. Please contact David Williams (davidw@usf.edu

) with any questions.

get somewhere. In the September FMD,

FMEA

President

Shelby

Chipman shared his journey, vision,

and pathway of achievement. I hope you will take time to reread his message … you’ll be inspired.

Being an inspirational leader

takes time and effort. The rewards last a lifetime … and beyond.

This fall will be like no other …

make it be GREAT!

October 2021

ExecutiveDirector’sNotes

Unity in Music Education:

Building Communities One Note at a Time FMEA Executive Director Kathleen D. Sanz, PhD

egistration for the 2022 FMEA Professional Development Conference is open HERE

for our face-to-face conference. Be sure to watch The mission

of the Florida

Music Education Association is to promote quality,

comprehensive music education in all

Florida schools.

the FMEA website to take advantage of all of the opportunities at this excellent conference in Tampa, January 12-15, 2022.

The FMEA hotel block opened on September 25.

The room block fills up quickly, but then there is a

release of rooms that become available during the booking period, so remember to check back weekly.

Please note that the deadline to cancel an unneeded hotel room is November 13, 2021, after which time

your credit card will be charged for the first night’s

call the FMEA office and we will assist you with beginning a chapter.

June M. Hinckley Scholarship

FMEA awarded two high school students with the June M. Hinckley scholarships, Haley Fleischman

from Cypress Bay High School and Timothy Schwindt

from Titusville High School. They have started their college careers and plan to major in music educa-

tion. Their inspirational essays were included in the August edition of the FMD.

stay. See more information in this magazine.

Student Opportunities at the 2022

Promoting Music Education to Increase the

All-State Concerts

Number of Music Educators

Florida continues to have a critical teacher shortage, including music positions. In addition, there

is a large shortage of substitute teachers. FMEA is continuing to work toward finding solutions to this

critical problem through programs and activities

« The

that include:

Florida NAfME Collegiate chapters

throughout the state, which include a major-

ity of our colleges and universities. Florida NAfME Collegiate is holding its Fall Conference

on October 24, 2021, in Lakeland. Information to register is on their website. In addition, they con-

duct a day to visit legislators during the session

« The Tri-M program, a national honor society to advocate for music.

for student musicians in middle and high school. This program is conducted through

the National Association for Music Education. In the words of NAfME, A Tri-M Music Honor

Society chapter opens up a world of opportunities for students who have already shown themselves to be

academically capable and musically gifted. Through performance and community service, they’ll develop

confidence, creativity, critical thinking, compassion, and a host of other leadership skills sure to serve them well in school and beyond. You can begin a chapter

is on the NAfME website under “students.” Or

at your school for your students. Information

Professional Development Conference and

« All-State Ensembles. Student participation in music activities at the state level helps students to continue to be engaged in music making. Students auditioned to participate in performing ensembles

« Popular Music Collective and Digital Music for All-State that will be held January 12-15, 2022.

Showcase for singer/songwriters and digital music composers and performers. See the FMEA

website under “programs” for additional infor-

« Student Leadership. The Student Leadership sesmation and criteria for participation.

sion with Dr. Tim Lautzenheiser will be held on

« Student Experience. The Student Experience proWednesday, January 12, 2021, from 1 pm to 4 pm.

vides an opportunity for students from across the state to work and learn together. Eligibility for the

Student Experience program is included on the

« Tri-M. There will be a strand for students from the many Tri-M chapters throughout the state. « Florida NAfME Collegiate. The collegiate FMEA website.

students have scheduled strong sessions for college students from our state colleges and universities.

I hope you are having a great year! Kathleen D. Sanz, PhD

�

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

Officers and Directors

EXECUTIVE BOARD President

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 Past President

Steven N. Kelly, PhD

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

Jason Locker

Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org 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 (561) 297-3883; deckerm@fau.edu FEMEA President

Joani Slawson

Holy Trinity Episcopal Academy 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com Florida NAfME Collegiate President

Alexis Hobbs

Southeastern University (352) 220-2791; aphobbs@seu.edu Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

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

Lindsey Williams, PhD

Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us FOA President

Laurie Bitters

Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

President......................................................................... 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

President...................................................................................Alexis Hobbs Southeastern University; (352) 220-2791; aphobbs@seu.edu

President.................................................................................Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com

Budget/Finance, Development................................ 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

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

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

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

Past President............................................................Harry “Skip” Pardee pardeh@collierschools.com

Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com

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

FMEA Corporate & Academic Partners.....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com

FLORIDA ORCHESTRA ASSOCIATION

Government Relations..................................................Jeanne W. Reynolds jeannewrey@gmail.com

President.................................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com

Health & Wellness........................................................ Revae Douglas Ross Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; revae.douglas@hcps.net

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

Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net

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

Reclamation......................................................................... William Reaney Buffalo Creek Middle School; 7320 69 St. E.; Palmetto, FL 34221 (239) 826-8077; reaneyw@manateeschools.net

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

Research......................................................................William I. Bauer, PhD University of Florida; wbauer@ufl.edu

Past President......................................................................... Jason Locker jason@fva.net

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

Executive Director.....................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@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

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

Social Justice & Diverse Learners..................................Bernie Hendricks Ocoee High School; bernard.hendricks@ocps.net

CENTER FOR FINE ARTS EDUCATION

PROFESSIONAL DEVELOPMENT CONFERENCE

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793

Exhibits Manager fmeaexhibits@fmea.org

President..................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org)

Local Chairman Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us

Director of Operations........................Valeria Anderson, IOM (val@fmea.org) Technology Director......................................Josh Bula, PhD (josh@fmea.org)

FLORIDA BANDMASTERS ASSOCIATION

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

Miami Northwestern Senior High School cnorton@dadeschools.net

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Awards............................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us

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

Chad Norton

Past President...........................................................................Julian Grubb Florida Gulf Coast University, grubb.julians@outlook.com

FMEA COMMITTEE CHAIRPERSONS

FVA President

Member-at-Large

Florida NAfME Collegiate

FSMA President ........................................................................Valerie Terry vterrymusic@gmail.com

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

Jeannine Stemmer

�

Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org) Business Manager..................................Carolyn Gentry (carolyn@fmea.org)

AFFILIATIONS

Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com

October 2021

44 F l o r i d a

Music Director