2024-25 FMEA MEMBERSHIP: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.
SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.
CIRCULATION: The circulation of the Florida Music Director is 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 323012757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office.
SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Kelly Miller, DMA, kelly.miller@ucf.edu.
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Advertiser Index
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The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.
ADVERTISERS
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CONNECT
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
Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd. Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.edu)
Editorial Committee
Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com)
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 Amanda Crawford
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
INTERESTED IN SUMMER TRAINING?
President’s Message
IT’S FALL Time for Cooler Weather and Professional Development!
It’shard to believe it is already October! Most school districts are wrapping up the first grading period and preparing to release the first report cards of this school year, high school marching bands are in the second half of their season, and students all over Florida are waiting for the results of their auditions for the 2025 FMEA all-state ensembles. And I can only speak for myself, but I am anxiously awaiting the arrival of some breezy, cooler weather!
Jason P. Locker President Florida Music Education Association
Now that we are well into the school year, another round of professional learning events sponsored by FMEA’s affiliated associations is also beginning. The 2024 FOA/FLASTA Fall Professional Development Conference will take place October 10-11 in Orlando. This year’s conference promises to be an enriching experience with keynote speaker Creston Herron, who will share his insights on advancing music education. The conference will also feature a variety of workshops, adjudicator training sessions, and networking opportunities designed to inspire and equip orchestra educators across the state.
The Florida NAfME Collegiate Fall Conference is set for October 19-20 at the University of North Florida in Jacksonville. This event is a fantastic opportunity for preservice music educators to engage in professional learning and networking. Highlights include keynote sessions with Dr. Peter Boonshaft, hands-on workshops, and interview preparation with our district music supervisors,
It will be a weekend filled with learning, sharing, and connecting for our future music educators!
On Saturday, October 26, the Florida Elementary Music Educators Association will hold its Northern Regional at the University of Florida in Gainesville and its Southern Regional at Southeastern University in Lakeland. These events bring together elementary music educators and students for a day of music-making and professional growth, including opportunities in chorus, Orff ensemble, modern band, and the second year of the Third Grade Rising Stars program.
It is also extremely important for us to remember our important role as advocates for music education. In this presidential election year, it is important for us to remember that there are many offices and initiatives “down the ballot” that deserve our careful consideration and attention. School board contests and local funding initiatives are very important to the cause of music and arts education. The deadline to register to vote for this election is October 7, and Election Day is November 5. Voting is not just a right but a responsibility, and I encourage all FMEA members to participate in the upcoming election. Registration is now open online for the 2025 FMEA Professional Learning Conference in January. You’ll hear a lot more about this year’s conference over the next couple of months, and it is shaping up to be as comprehensive, diverse, high-quality, and joyous as ever! Make plans now to attend, and register early to take advantage of the best pricing. I can’t wait to see you there!
Jason P. Locker, President Florida Music Education Association
Make a plan to VOTE!
To paraphrase Lin Manuel Miranda’s Hamilton—don’t throw away your shot. Plan to vote and commit to voting the whole ballot. October is a critical month to prepare for your vote.
Recently, I was helping students register to vote at a charter high school for at-risk students ages 16 to 22. (Students can preregister to vote when they are 16.) One student’s response from that day continues to haunt me. She was adamant about NOT registering to vote. She couldn’t see the point. She thought that her challenges were invisible to decision makers and that her voice wouldn’t make a difference. Nothing could be further from the truth.
Interestingly, young adults ages 18 to 24 make up the largest block of citizens who are eligible to vote. Despite those numbers, their voting participation rate has been far below that of other groups. Young adults are not lazy or unmotivated to vote. Rather, they are very passionate about the issues that impact their lives and want to be a force for change. Interestingly, research has shown that lack of knowledge about the election process is why young adults choose not to participate in voting.
Knowledge is Power –Voting and Election Process
I believe a lack of knowledge about voting, or just the hassle factor of voting, also keeps some voters older than 24 from voting consistently, or from completing the entire ballot. Some people are disillusioned with the whole political process. Others are what experts call “low information voters.” Low information voters may vote in presidential races but rarely any other time. Seventyseven percent of registered voters in Florida cast a ballot in the 2020 presidential election—only 54% of registered voters voted in the 2022 Florida race for governor. Those numbers suggest a staggering number of Floridians chose NOT to have their voices heard. Reach out to those friends and encourage them to vote!
If you are one of the many who are disillusioned with the political process, I recommend focusing on issues that
Jeanne W. Reynolds Chairperson, Advocacy Committee
matter to you. This is what we tell young voters, and it works. Surely you have some issues that matter to you. If nothing else, focus on music and arts education. Find candidates and initiatives that champion causes that matter to YOU.
Voting takes effort, but it’s worth it! Let me help you.
Bookmark these sites:
w https://dos.elections.myflorida.com/supervisors/ – Find your county supervisor of elections site and bookmark it. Also add the phone number for this office to your contacts.
w https://www.vote.org/ – A nonpartisan site to help you and your friends get good information.
w https://www.vote411.org/ – A good site for information about your candidates and other ballot issues.
Register to vote:
https://registertovoteflorida.gov/home
If you are reading this before October 7 and you have not yet registered—do that NOW.
Commit to Completing ENTIRE Ballot: This can be daunting. There will be many amendments and important local races and issues in addition to the presidential and federal office races. Many of these races and referenda have direct impact on your work as a music educator.
Sample Ballot: Get a sample ballot ASAP. Your supervisor of elections office should be able to mail or email you a sample. You can also secure one at https://www.vote. org/ or https://www.vote411.org/. Having a sample ballot allows you to research candidates, issues, and referenda at your own pace. Do five minutes of research every day.
w Research the Amendments: There are six state amendments on the ballot. https://www.vote411. org/ is a great resource for all races but especially for these amendments. This site includes:
w Actual ballot language
w Synopsis of the amendment
w Rationale of opponents of the bill and rationale of supporters of the bill
w What a yes vote means and what a no vote means
Example: Amendment 1 Partisan Election of Members of District School Boards is the most relevant to our work as educators. Supporters of the bill argue that public education is already polarized, and party affiliation may help voters predict how board members would vote on issues. Opponents of the bill argue that a partisan school board race would increase polarization and would exclude no party affiliated voters (nearly 30% of voters—more than 3.5 million Florida registered voters) from voting in local school board races.
Research Candidates: https://www.vote411.org/ is a site that provides nonpartisan information about candidates. Talk to respected friends and colleagues whose opinions you trust. See where candidates stand on issues that matter to you. Avoid highly partisan sources. Email or call a candidate or their campaign manager with specific questions regarding issues that are meaningful to you. Asking questions helps candidates know what is important to constituents.
Research Local Issues and Referenda: Several districts will have local initiatives on their ballot, and some impact arts education directly. Consult nonpartisan sources, local publications, and trusted local elected officials to research these issues. Do NOT skip voting on these issues.
Your Voting Plan
Vote by Mail:
w Confirm that your vote by mail request is up-to-date.
w Deadline to request a mail ballot is October 24 at 5 pm.
w Complete your vote by mail ballot promptly and mail back in ample time for the ballot to be received. Better yet, hand deliver the ballot to designated locations.
w If there is an issue with your ballot, you will be contacted and able to “cure” it in plenty of time if you get the ballot back in a timely fashion.
w In most counties, you can track the status of your ballot on your supervisor of elections site.
Early Voting:
w October 26 – November 2
w Check your supervisor of elections office for times and locations. These sites are NOT typically at your usual polling site, but generally you are able to vote at any of the early voting sites in your county.
Election Day Voting:
w Check your polling place before going. This information can be found on your supervisor of elections site.
w Give yourself plenty of time to vote in case unforeseen challenges arise.
w Bring a photo ID—a list of acceptable IDs can be found here: https://ballotpedia.org/Voter_ID_in_ Florida
w Bring your completed sample ballot to use as a resource when completing your ballot on Election Day.
Even if your candidates don’t win—your vote matters. Margins of victory or defeat influence decision makers’ future decisions. I have quoted Miranda’s lyrics from Hamilton in the past, but it bears repeating.
It’s time to take a shot
Rise up, it’s time to take a shot
Rise up, take a shot, shot, shot
Ay, yo, it’s time to take a shot, time to take a shot
And I am not throwin’ away my Not throwin’ away my shot
Don’t throw away your shot. VOTE!
Jeanne W. Reynolds
FLORIDA BANDMASTERS ASSOCIATION
33rd Hall of Fame Weekend
The 33rd Florida Bandmasters Association Hall of Fame weekend is scheduled for November 16-17, 2024, on the campus of Stetson University in DeLand, Florida. The weekend includes a banquet and two concerts to honor the Roll of Distinction inductees, Dr. Josh Bula and Donald Snowden, and the Hall of Fame inductees, James Matthews and John Nista.
On Saturday, November 16, at 7:30 pm, the weekend activities begin with the Roll of Distinction Concert featuring the Southern Winds, Dr. Douglas Phillips conductor. A reception follows the concert in the Marshal and Vera Lea Rinker Welcome Center.
The Hall of Fame banquet is scheduled for 12 noon, Sunday, November 17, in the Stetson Room located in the Carlton Union Building. While the banquet is open to the public, reservations are required by November 1. Contact Dr. Douglas Phillips for reservations and information ( douglasphillipsdma@gmail.com).
The Hall of Fame concert is scheduled for Sunday, November 17, at 4 pm, featuring the Stetson University Symphonic Band, Dr. Chandler Wilson, conductor. A reception follows the concert in the Marshall and Vera Lea Rinker Welcome Center.
Both concerts are held in the Elizabeth Hall located in Lee Chapel. These two concerts are free and open to the public. Both concerts will also be live streamed online (click here or visit the FBA website under Awards-Hall of Fame).
The Hampton Inn and Suites DeLand (20 Summit Oak Place, DeLand, Florida 32720) is holding a room block of rooms until October 15, 2024, at discounted rates of $169 per night (Friday and Saturday) and $120 per night (Sunday). To make a reservation online, click here or visit the FBA website under Awards-Hall of Fame and use the link provided. Phone reservations can be made by calling directly at (386) 279-7808 and asking for the FBA (Florida Bandmasters Association) discounted rate.
Florida Bandmasters Association ROLL OF DISTINCTION 2024 INDUCTEE
DON SNOWDEN
Mr. Don Snowden has been a musical force in Northwest Florida for numerous years, showcasing his exceptional versatility as a conductor, trombonist, administrator, and educator. He recently concluded a remarkable 44-year teaching career as department head and director of bands at Pensacola State College. Snowden earned his BME from Livingston University (now the University of West Alabama) in 1977 and an MME from the University of Southern Mississippi in 1981. His educational journey also included studies at the prestigious Eastman School of Music in Rochester, New York.
Beginning his career at Foley High School in Foley, Ala., Snowden garnered national recognition for his concert and marching bands, receiving the National Band Association’s Citation of Excellence in 1985 for his commitment to inspiring and motivating excellence in musical performance after a notable concert at the University of Southern Mississippi Conductors Conference. Later that spring, the Foley Band achieved the Gold Medal at a national concert band festival in Orlando, one of only 3% of bands in the U.S. to reach this level. In his 11 years in the Foley area, he began three middle school bands in addition to teaching at the high school.
During his 33-year tenure as Pensacola State’s director of bands, Snowden elevated the size and quality of his concert and jazz bands, consistently achieving superior ratings for his jazz ensembles throughout the South. Noteworthy collaborations with renowned jazz artists such as Carl Fontana, Slide Hampton, Bobby Shew, Gary Foster, Bill Prince, Chris Vadala, and Rich Matteson enriched the musical experience. The Pensacola State Jazz Ensemble’s performance at Carnegie Hall in 1993 is a testament to Snowden’s commitment to excellence. As the director of bands, he was always available to help area middle and high schools in their preparations for music performance assessments. He also guest-conducted honor bands in Florida, Alabama, Georgia, Mississippi, Tennessee, Louisiana, and Arkansas.
As a trombone teacher of college, middle school, and high school students, his high school and middle school
students achieved a total of 14 first chairs, eight second chairs, and three third chairs out of 41 chairs made from his studio in the Florida All-State Bands.
In his role as director of the Pensacola Civic Band, Snowden propelled the ensemble onto the national stage, receiving the prestigious Sudler Silver Scroll Award in 2002. The Civic Band’s significant contributions to their community’s cultural and musical environment earned them the honor of hosting the Association of Concert Bands Convention in 2001 and 2007. Snowden’s dedication to excellence persisted, highlighted by bringing legendary trumpeter Doc Severinsen and the world-famous Boston Brass for memorable performances in addition to Allen Vizutti, Chris Vadala, Plas Johnson, Harry Watters, and Bob Havens. Upon his retirement, he was honored with the title director emeritus for the Civic Band.
Snowden’s leadership extended beyond performance as he served on the board of directors of the Association of
Concert Bands in 2001, eventually becoming its president in 2008 and 2009. In 2020, the Greater Pensacola Chamber of Commerce recognized him as a Pace Award winner, honoring him as Professional Leader of the Year. He is honored to be inducted into the Roll of Distinction of the Florida Bandmasters Hall of Fame. The Roll of Distinction recognizes individuals who have made significant contributions to secondary school band music programs in Florida and the goals of the FBA.
Beyond his roles in education and leadership, Snowden is an active performer. He has held the second trombone position in the Pensacola Symphony Orchestra since 1979. He leads the Don Snowden Big Band, featuring vocalist and wife, Holly Shelton, and has collaborated with renowned artists like trombonist Andy Martin and LA trumpeter Wayne Bergeron.
Snowden’s musical engagements extend to diverse projects, including the Perdido Brass, a professional brass group along the Gulf Coast, and the Four Seasons Brass, a 13-piece ensemble that has captivated audiences throughout the Southeast. His expertise as a musical theatre conductor is evident in productions such as “West Side Story,” “Hello, Dolly!,” “The Secret Garden,” “Gypsy,” “Into the Woods,” and “Les Misérables.” Notably, on PBS, he conducted the nationally televised concert “Will Hedgecock, Live at the Saenger Theatre” in 2009.
In addition to his musical contributions, Snowden has played a pivotal role in organizing orchestras for performances by artists such as Harry Connick Jr., Jim Nabors, Roger Williams, the Mills Brothers, and national tours of “A Chorus Line” and “Annie.” As director of music at Gulf Breeze Methodist Church since 2010, he continues to enrich the musical landscape of the community.
Beyond his musical pursuits, Snowden is an avid golfer and gourmet cook. He takes pride in his family, with two children, Matthew and Ashleigh, and five grandsons, Logan Walker, Gideon Loki, Killian Ayro, Gierhyn Fury, and Gage Matthew. Married to vocalist-actress Holly Shelton, he served as her executive producer for one of her most popular CDs, “Deep Purple.”
Florida Bandmasters Association
HALL OF FAME 2024 INDUCTEE
JIM MATTHEWS
A life-long lover of education, shared music-making, and collegial collaboration, Mr. Jim Matthews has had a very rewarding career. He taught at one school (Jackson Middle School, Titusville, Fla.) for 30 years (1985-2015) before entering a mentoring/instructional coaching position with Brevard Public Schools for eight more years (20152023) before exiting the public school system. Jim was invited to start a band program at Park Avenue Christian Academy in Titusville to work with fifth through eighth graders (2023-present).
Jim grew up in Miami, Florida, and began playing trumpet in seventh grade. After high school he went to Miami-Dade Community College (1980-1982) and then to Florida State University for his BME (1982-1985). He taught for several years before returning to Florida State University to obtain his MME (2001).
Jim’s band program at Jackson Middle School continued to grow yearly with the highest number being more than 350 members, and he took two bands to MPA performances almost every year at a two-year middle school. His bands continually received superior ratings 25 years in a row. He had the opportunity to work with thousands of students and hundreds of parents over the years and enjoyed the relationship he had with them. Furthermore, Mr. Matthews served on three different committees for FBA for many years, Concert Music, Concert Adjudication, and Retired Directors.
He started conducting all-county bands and presenting clinics early in his career and was very fortunate to travel all over our great state teaching, conducting, and making music with many people. He has conducted more than 60 honor bands and several college camps/honor bands as well. He was honored to conduct the Florida AllState Middle School Band in 2005. He has opened school years with professional development sessions in several counties throughout the state. He has also been invited to Virginia, Alabama, and Kansas to present and conduct.
Jim has been Teacher of the Year several times, presented many clinic sessions at FMEA and FBA Summer
conferences, and loves working with teachers. He has authored two books: The Achievement System published by Alfred Publishing and Principles of Musical Performance, an e-book on Amazon.
Jim co-founded the Florida Band Director Workshop, a comprehensive teacher workshop held in Titusville each year for the past nine years. This workshop has served hundreds of band directors in our state and has become a valid learning community.
Mr. Matthews’ affiliations include Florida Music Education Association, Florida Bandmasters Association (Life Member), and Phi Beta Mu – Honorary International Band Fraternity. He was honored to receive the Oliver Hobbs Award for exceptional consistent band leadership (2005).
Jim is happily married to the love of his life, Laura, and is father to two children, Michael and Michelle, and three grandchildren, Caleb, Lily, and Lyla.
Florida Bandmasters Association ROLL OF DISTINCTION 2024 INDUCTEE
JOHN NISTA
Mr. John Nista grew up in New Castle, Pennsylvania, with his sister, Rose, and loving and supportive parents that immigrated from Italy. Music was an essential part of family culture. With his family’s encouragement, John began playing clarinet in junior high school and continued throughout high school. Upon graduation, he attended the Dana School of Music at Youngstown State in Ohio and graduated in 1981.
John retired from Broward County Schools in June 2024, completing 43 years of teaching. He has taught at both the middle school and high school levels. He began his teaching career at Sunrise Middle School in 1981, and in 1983 he became the band director at Fort Lauderdale High School for the next 10 years. In 1992, he accepted the band director position at Coconut Creek High School. After four years at Coconut Creek High, in 1996, he became the band director at Ramblewood Middle School in Coral Springs, Florida, and would remain there for 28 years.
The Ramblewood Band program annually consisted of approximately 375 students. Despite the effects of the pandemic, his band program remained strong in numbers (230+). His teaching responsibilities included teaching beginning, intermediate, and advanced concert bands. In addition, he instructed two jazz bands that rehearsed prior to the start of school, as well as a volunteer marching band that performed in at least three local parades annually. Ramblewood Middle School consistently received superior ratings at district MPA. Most notably, the Honors Concert Band and Honors Jazz Band received superior ratings every year during his tenure.
John holds degrees from Youngstown State and Nova University. He was selected by his peers as the Broward County Middle School Band Director of the Year in 1998. He was featured in the December 2000 issue of School Band & Orchestra as one of the “Fifty Directors Who Make a Difference.” He received the Oliver Hobbs Award in January 2009 from the Florida Bandmasters Association for his commitment to music education. He has been selected three times as Teacher of the Year, once at Sunrise
Middle School and twice at Ramblewood Middle School. He was awarded Broward County’s Arts Teacher of the Year in the 2013-14 school year. He has conducted various honor bands throughout Florida, including the 2003 AllState Middle School Honors Band and the 2010 All-State Middle School Band. Additionally, he served the Florida Bandmasters Association as district secretary and district chairperson. He is a member of the Florida Music Education Association, Broward County Band Directors Association, and Phi Beta Mu, and is a life member of the Florida Bandmasters Association.
John is married to his wife, Christina, whom he met at Ramblewood Middle School. They share two children, Lauren (27) and James (28). As a family, they enjoy traveling and spending time together away from work.
John is extremely honored and proud to be inducted into the 2024 FBA Hall of Fame with his good friend Jim Matthews.
Florida Bandmasters Association
ROLL OF DISTINCTION 2024 INDUCTEE
JOSH BULA
Dr. Josh Bula is the director of information technology for the Center for Fine Arts Education (CFAE), where he serves as the web developer, database administrator, network administrator, and in various other roles for the Florida Music Education Association, the Florida School Music Association, and the Florida Art Education Association. Josh serves as the technology committee chair for the Florida Bandmasters Association, a position he has held since 2004 when he started maintaining the FBA website and worked alongside FMEA and FSMA in the early development stages of what we now know as MPA Online, the online management system for music performance assessments (MPAs) used by the Florida Band, Orchestra, and Vocal Associations (FBA, FOA, and FVA) for MPA entry, management, scheduling, and adjudicator management. He has also served as a district secretary and district chairperson for the Florida Bandmasters Association.
He began his music education at Bradford Middle School and then Bradford High School in Starke, Florida. He earned his BME from Florida State University, where he studied percussion with Gary Werdesheim and Darren Duerden and performed in ensembles conducted by Dr. James Croft, Dr. Bentley Shellahamer, and Dr. Patrick Dunnigan. During his undergraduate years, he also performed with the Suncoast Sound and Magic of Orlando drum and bugle corps. He received his MM in instrumental conducting from the University of South Florida, where he studied conducting with Dr. William Wiedrich. He later returned to Florida State University to earn his PhD in music education, where his major professor was Brian Gaber, head of the Commercial Music Program. Dr. Clifford Madsen, Dr. Steven Kelly, and Dr. John Drew also served on his dissertation committee.
He has been passionate about music and technology since he was a very young child listening to his parents’ albums on their Hi-Fi stereo system. He started computer programming on a Commodore 64 in elementary school and joined the band as a percussionist in middle school.
In high school, he performed in band and chorus while working at a local radio station and continuing as a computer hobbyist. He wrote his first website in the mid-1990s and continued to develop websites, database applications, and web applications as a hobby throughout his music teaching career.
Josh enjoyed 10 years as a high school band director in Florida. He started at Newberry High School in Alachua County and then Bayside High School in Brevard County, and his most recent position was director of bands at Leon High School in Tallahassee. At Leon, his bands consistently earned superior ratings at district and state MPAs and always had students accepted to all-state ensembles. Under his direction, the Leon High School Symphonic Band performed at the National Band and Orchestra Invitational at Carnegie Hall, the Southern Division CBDNA Conference, and the Bands of America National
Concert Band Festival. Many of his students became professional musicians, music educators, musicologists, professors, and various other impressive careers. He started an electronic music class targeting students who were not already in a traditional music program in an effort to recruit more students into music education who do not have the interest or ability to participate in traditional music ensembles. This experience would later evolve into the subject of his PhD dissertation at Florida State University, where his graduate assistantship included teaching classes in MIDI/electronic music and recording studio techniques.
In his first year pursuing his PhD at FSU, he worked part-time as a web developer for the FSU Claude Pepper Center for Intercultural Dialog. Later that year, the Florida Music Education Association hired him to redesign the FMEA and FSMA websites. Shortly after that, he began working part-time for FMEA and gradually took over more of the CFAE office’s technology duties. He continued to be a consultant for the MPA Online project as contract programmers continued to build and maintain it after the original programmer resigned. Due to his previous experience as a music teacher and FBA district chairperson, it became clear that the most efficient path forward for the MPA Online project would be for Josh to take it over and do a complete rewrite from scratch. The Florida Bandmasters Association began using his new version of MPA Online for the 2009-10 school year, and the Florida Vocal and Orchestra Associations joined in the following year.
In 2011, Josh completed his PhD and began working full-time for the Center for Fine Arts Education, where he continues improving MPA Online and the other websites and applications for FMEA, FSMA, FAEA, and various other projects for other fine arts education organizations. He worked with the Florida Elementary Music Education Association to modernize their All-State Chorus and Orff auditions, adjudication, and selection process. He moved the Florida Art Education Association’s Virtual
Art Assessment and Exhibition to an entirely online entry and adjudication process, and he has modernized the membership and conference registration management systems for all the organizations that CFAE manages.
He is a member of the American Society of Association Executives (ASAE), where he serves on the Technology Professionals Advisory Council. He received the 2015 Distinguished Service Award from the Florida Music Education Association and, in 2016, the Founder’s Award for Outstanding Contributions to Bands from the Omega chapter of the Phi Beta Mu International Bandmasters Fraternity.
He is extremely humbled and grateful to the Florida Bandmasters Association for selecting him for induction into the FBA Roll of Distinction, and he is eternally thankful to everyone who served as teachers, mentors, and friends throughout his life and career.
With just over 200 students in the program, The Stetson University School of Music is regarded as one of the nation’s finest undergraduate-only professional schools of music. Students enjoy the advantage of relationship-rich connections with faculty and remarkable opportunities for solo and ensemble performances. Register now for an audition on campus at the link below.
Contemporary Trends & Issues in Education
Wednesday, January 8, 2025 1:00 pm – 5:00 pm
Session A:
Creating Meaningful Music Programs in Rural Schools Presenters
Session B:
Charms and Challenges of Students With Disabilities in Title I and Rural Schools Presenters
Session C: #FloridaProud: A Panel of Extraordinary Rural & Title I Music Educators Presenters
Session D:
Spread the Good News: Connecting Rural & Title I Music Programs and Expanding Multicultural Support Networks Presenters
Dr. DaShaun McGee
Fernando Garcia
Dr. Chris Harper Cody Puckett
Dr. Christine Lapka
Alexander Burden
Maria Del Valle Lissette Garcia-Burden
Sandra Stein
Dr. Arnekua Jackson
Harry “Skip” Pardee
2025 FMEA Professional Learning COnference
We can’t wait to see you in Tampa this January!
go digital!
The 2025 conference program will be digital only ... and of course you’ll want to download the conference app for all the latest info! Concert programs will still be printed.
The FMEA Professional Learning Conference is one of the largest music education professional development events in the United States. In addition to approximately 200 clinic sessions and concerts, it is host to 24 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, Orff, and popular music students conducted by world-class conductors and teachers.
It is attended by more than 10,000 people, including secondary music directors, elementary music teachers, music supervisors, college students, college music teachers, school administrators, K-12 students performing in the all-state ensembles, students and professional musicians performing with invited performing ensembles, exhibitors, and parents and family members of performing students.
So many reasons to participate:
w An exhibit hall with world-class exhibitors providing products and services for music educators and students
w More than 3,000 music teachers and 300 administrators
w More than 200 sessions covering a variety of topics for all music educators, with on-demand access to recordings after the conference
w Performances and mini-concerts from some of Florida’s top music programs
w Networking opportunities, college fair, awards ceremony, and other special events
Important Conference Dates & Information
November 9, 2024
November 12, 2024
December 13, 2024
December 16, 2024
Hotel room cancellation deadline is 5 pm.
Hotels will charge your credit card a nonrefundable deposit for the first night of each room.
Early registration closes at midnight. Prices increase to the regular registration rates. You may continue to register and pay online until the conference.
Postmark deadline for checks mailed to pay for conference registration. After this date, all unpaid conference registrations must be paid by credit card online, or the check must be brought with you to the conference.
All school lodging checks are due to hotels, payable to the hotel where reservations were made for you and/or your students.
The final deadline for discounted hotel blocks; unsold rooms in the FMEA blocks are released back to hotels.
Registration
Registration Prices and Procedures
w Membership in FMEA and NAfME is a prerequisite for registration. See the Registration Policies for details.
w To take advantage of early discounted rates, you must register and pay before the deadlines.
Note: If you are mailing a check to the FMEA office to pay for your registration, it must be postmarked early enough so that it will ARRIVE in the FMEA office before the preregistration deadline.
REGISTRATION FEES
Refund Policies
1. Full registration refunds are available for cancellation requests made through December 15, 2024.
2. No registration refunds will be made for cancellations made after December 15, 2024, except for emergency situations. These will be reviewed on a case-by-case basis.
3. Refunds must be requested in writing (email is acceptable).
4. All requests for refunds must be received no later than January 31, 2025. Requests received after that date will not be processed.
5. All refunds will be issued after the conference is completed.
6. There are no refunds for concert tickets.
Registration Policies
1. All participants—directors, students, chaperones, and guests—must be registered for the conference.
2. Only directors may register their groups or pick up registration materials if preregistered.
3. All participating students must be chaperoned. As required by FMEA and FSMA, at least one chaperone other than a director is required for every ten (10) students or fraction thereof; however, FMEA policy allows for one free chaperone for every six (6) students or fraction thereof.
4. An additional paid chaperone may be registered for (a) each six (6) students registered or (b) for each all-state rehearsal site where registered students are performing.
5. If a participating student is not accompanied by the director from that student’s school, then the principal from that school must furnish a letter designating the person from the school or school district who is to be in charge of that student. The letter should be addressed to the FMEA executive director, explain the extenuating circumstances preventing the director from attending, and must be submitted with registration materials. The school will be notified of approval.
6. Student observers are not allowed to attend the conference. If any student observers are brought to the conference, the offending school’s participation in the conference may be eliminated the following year. (Tri-M students registered and participating in sessions or working for the all-state concerts are exempt from this rule.)
7. All school music teachers must register for the conference as FMEA directors and be current members of FMEA. This includes directors of invited performing groups, mini-concerts, and session presenters. All-state conductors from Florida schools, colleges, or universities must also be FMEA members. No current music teacher may register as a chaperone.
Chaperone Registration
Chaperone registration is based on the following rules:
Elementary Students
w For each elementary student registered, one free chaperone and one paid chaperone may be registered.
w Any additional attendees must purchase a guest pass at on-site registration for entry into the convention center.
Middle School and High School Students
w For every six students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may be registered until the seventh student is registered.
w Any additional attendees (chaperones or guests) must purchase a guest pass at on-site registration for entry into the convention center.
w EXCEPTIONS
~ If you have students in more than one performing ensemble, you may pay for a chaperone for each performing ensemble in which you have registered students.
~ If you have students from different schools, you may pay for a chaperone for each school for which you have registered students.
Chaperones are not allowed to bring other children who are not participating in an all-state ensemble. Only registered students, teachers, and chaperones wearing a conference badge are allowed in and around the rehearsal areas. Directors are asked to make sure their chaperones are aware of this policy before agreeing to serve as a chaperone.
Greetings! It’s the wonderful time of year when we start planning our very special conference event.
The Florida Music Education Association has contracted the following Tampa hotels for the January 8-11, 2025, Professional Learning Conference.
We look forward to seeing you in Tampa!
HOTELS
Contracted for 2025 FMEA Professional Learning Conference
NOTE: FMEA IS NOT offering a housing bureau service. All participants MUST reserve their rooms online via links that will be posted at FMEA.org/conference/hotels/ on September 28, 2024 . Please confirm the guest room rate posted below when you make your reservation. We look forward to seeing you in Tampa!
w All reservations will be made online via links that will be posted at FMEA.org/conference/hotels/. Room blocks will open on Saturday, September 28, 2024, at 9 am EDT. The hotel list will be available on the FMEA website at that time, along with the online reservation links and phone numbers for each hotel.
w Guest rooms at the contracted rates will be available until the room block is full or until the cancellation deadline of November 9, 2024, at 5 pm. If your hotel of choice is sold out, please continue to try to make a reservation until November 9, 2024, as FMEA attendees will periodically release surplus guest rooms.
w A maximum of five (5) guest rooms may be reserved per name/credit card.
w Directors should try to reserve rooms for all-state students and chap erones in the hotel where they are rehearsing.
w Credit cards are required for online reservations, and the credit card name must match the name on the reservation.
w If calling, be sure to request the “Florida Music Education Association” room block rate and confirm the guest room rate listed for the hotel.
w If paying by check, reservations must be made over the phone, and a check for the full amount must be mailed directly to the hotel no later than December 13, 2024.
w You do not need to register for the conference before reserving your hotel rooms, but this is something we are considering for future conferences.
w Each hotel will have contract terms, such as parking charges, etc., on their reservation link.
Frequently Asked Questions
Why are the FMEA hotels so expensive?
The prices we contract with the hotels are much lower than their standard room rates during the same dates (in many cases, less than half).
Why is it so hard to get a room?
When the blocks first open, everyone tries to get as many rooms as they can in case they need them for all-state students and chaperones, so they fill up very fast. If you wait until after the all-state results come out, many people will have cancelled their rooms and it will be much easier for everyone else to get a reservation.
Why don’t you wait and open the hotel block after all-state auditions results are released?
Our hotel partners are not comfortable waiting until we are so close to the start of the conference to start booking room reservations.
Is there a cancellation fee?
No, as long as you have cancelled all the rooms you no longer need by the cancellation deadline listed, you will not be charged any type of cancellation fee. After the cancellation deadline, a deposit of one night per room in your reservation will be charged to your credit card, and that deposit is nonrefundable.
Someone at the hotel told me that cancelled rooms don’t go back into the FMEA block, and they are sold at full price instead. Is that true?
Not until December 16. Before that date, all the hotel rooms in the FMEA blocks that are cancelled will go back into the FMEA blocks and can be reserved by other FMEA members at the low FMEA rate.
possible and no later than 5 PM ON NOVEMBER 9, 2024, and you must secure a cancellation confirmation number. This courtesy will make surplus rooms available to other FMEA members and conference attendees.
Nonrefundable Deposit
On November 12, 2024, each room reserved and not cancelled by November 9 will be charged a nonrefundable deposit in the amount of the posted rate for one night plus tax. It will be charged to the credit card used to secure the reservation. Invalid credit cards risk reservation cancellation.
If Hotels Are Full
Every year, the hotel blocks fill up almost immediately upon opening due to teachers overestimating how many they will need for all-state students and chaperones. They cancel the rooms they don’t need after the audition results are released (late October and early November).
w Try again in late October or early November after all-state results are released and teachers cancel rooms for students who were not selected. w Try again after the cancellation deadline. All cancelled rooms will return to the FMEA blocks until December 16, 2024.
w Please do not reserve a room outside of the FMEA blocks! To receive discounts for the ballrooms we use for all-state rehearsals, we must fill most of our allotted room blocks. If we do not meet our required minimum number of hotel nights sold, we will need to raise conference registration rates to compensate for the added cost of the rehearsal space.
All-State COncerts
Attendee Concert Tickets
Registered conference attendees, such as directors, chaperones, students, and administrators registered as part of your conference registration, will be admitted to all all-state concerts with their conference badge. Purchased tickets are necessary for other family or friends attending only the concert.
All-state concerts are now sold exclusively online through the FMEA conference ticket sponsor: TeachTix. Directors should send the following link to the parents or guardians of their allstate students who may need to purchase tickets: FMEA.org/ Conference/Tickets/
Ticket Sales
Tickets are sold online for family, friends, and other attendees who are not registered for the conference. Directors will no longer need to pre-order all-state concert tickets for their students’ family members or friends who will be attending their concerts. Send them this link instead: FMEA.org/Conference/Tickets/.
Tickets will go on sale in September, and can be purchased anytime up until 30 minutes after the start time of the concert.
Tickets purchased will be emailed to the purchaser and can be printed or stored on their phone. The barcode will be scanned at the door to validate a ticket’s authenticity and to gain entrance to the concert.
No Refunds. Tickets may be exchanged for another concert or transferred to another person using the online ticket sales portal only.
Signs with QR codes will be posted at the conference for purchasing tickets at the door with your smartphone.
A desk in the conference registration area on the second floor of the convention center will be selling paper tickets if you need to purchase tickets with cash or if you do not want to use electronic tickets.
Concert Reentry Procedure
Frequently Asked Questions
Do I get free tickets for my students’ family members to attend the concert?
No.
Can I get free tickets to any concerts?
No. Registered attendees (directors, chaperones, students) are allowed admission to concerts with their name badge so no ticket is necessary. Attendees that are not registered for the conference (parents, family, etc.) must purchase tickets.
Can I buy extra tickets anytime?
Anyone can purchase tickets online. Electronic tickets will go on sale in September and sales will close 30 minutes after each concert’s scheduled start time. Paper tickets will be sold at the FMEA registration desk during its regular open hours on Thursday through Saturday.
Once a ticket’s barcode is scanned to gain entry, that ticket is marked as “used” and will no longer be eligible for another entry into the concert. Attendees who need to exit and reenter the concert should be prepared to show their ticket and a photo ID to confirm they are the ticket owner to gain reentry into the concert hall.
Does my young child need to buy a ticket?
Everyone who will be taking up a seat will need a ticket. Babies that are being held by a parent or sitting on a parent’s lap for the duration of the concert are welcome without a ticket, but children who are old enough to sit in their own seat will need a ticket.
All-State Concert Ticket Policy
1. Registered (BADGED) attendees do not require tickets to attend any all-state concert. This includes directors/ members, directors’ non-teaching spouses, performing all-state students, registered chaperones, collegiate student members, retired members, and VIP guests that you entered as part of your conference registration.
2. All nonregistered (NONBADGED) attendees (parents, family members, guests, etc.) are required to purchase tickets for any all-state concert they wish to attend.
3. There are no “free” or “allotted” tickets. All concert attendees must either wear their conference badge or purchase a ticket.
4. Tickets will be electronic and sold online utilizing a mobile-friendly website. The link will be available on the conference website well in advance of the conference, and directors are encouraged to share the link with all of their all-state students and their parents or guardians. On site at the conference, the links and QR codes will be posted on signs in the venue so attendees may purchase tickets using their smartphones. Anyone who wishes to attend a concert can purchase an electronic ticket online anytime up until 30 minutes after the concert’s published start time.
5. There is no longer a need for directors to pre-purchase any tickets for their students or their families. Instead, they should direct the student and their family to the online ticket sales website. Any directors who still wish
All-Ticket Sales Are Final. No Refunds.
Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window. Exchanges may only be made through the online portal.
Note: No concerts will be held in the Straz Performing Arts Center.
to purchase tickets should take care to correctly enter the names and email addresses of the people who will be using the tickets into the online sales portal, or transfer the tickets to those who will be using the tickets using their correct name and email address in the online ticket sales portal.
6. Paper tickets will be on sale at the registration desk on site at the conference for attendees who would like to pay by cash or who do not want to use electronic tickets. Paper ticket sales for all-state concerts will begin on Thursday morning and continue Friday and Saturday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person purchasing these tickets. If a concert starts after the registration desk is closed, only electronic tickets will continue to be sold for that concert.
7. All ticket sales are final. There are no refunds for any concert tickets. Tickets may be transferred or exchanged using the online ticket sales portal only.
8. For entrance, ticket, and concert purposes, a concert is defined as the pair or group of ensembles that are performing in the same venue in a common, defined block of time. An example of a “concert” for purposes of entrance and ticketing would be the 5:30 pm concert that features both the Treble Chorus and Mixed Chorus or the 6:30 pm concert that features the Middle, Concert, and Symphonic Bands.
All-State Rehearsals
All-State Concert Band
Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 6:30pm
Provide proof of the sessions you attended to your administration with Session Attendance Verification Reports!
Each of our presenters will be provided a QR code and asked to display it on the last slide of their presentation. Scan that QR code to confirm your attendance and add the session to your Verification Report.
Requirements:
w Register for the conference, either via preregistration or on site.
w Make sure you can login to the FMEA website using the web browser on your phone. Use the username and password you chose when you renewed your membership. If you are from outside of Florida, you should have chosen your username and password when you registered for the conference.
w Learn how to scan a QR code with your phone. With iPhones and newer Androids, you just need to open your camera, point it at the code, and a box will appear for you to click.
FMEA does NOT automatically submit your hours for you. It is up to you to follow the process outlined by your school or school district to apply for the professional development points toward your certificate renewal.
Policies
Code of Conduct
FMEA is dedicated to providing a positive environment of respect and civility for all attendees, including members, students, parents, speakers, clinicians, exhibitors, sponsors, staff, volunteers, and guests. All attendees are asked to follow all applicable laws and conference policies and to refrain from physical and verbal harassment, bullying, disorderly conduct, or any actions or behaviors that create unsafe conditions or interfere with presentations or performances. Harassment, bullying, and sexual language and imagery are not appropriate for any conference venue, including clinics, workshops, concerts, rehearsals, social events, online, and social media. Violations should be reported to convention center security or conference staff in a timely manner. Violators and their registered students may be expelled from the conference without a refund at the discretion of the FMEA Executive Committee.
Indemnity Clause
FMEA reserves the right to change the conference/workshop content, timing, speakers, or venue without notice. The event may be postponed or cancelled due to acts of terrorism, war, extreme weather conditions, industrial action, fewer than expected delegates, pandemic, or any event beyond the control of FMEA. If such a situation arises, FMEA will endeavor to reschedule the event; however, FMEA cannot be held responsible for any cost, damage, or expenses that may be incurred by the registrant as a consequence of the event being postponed or cancelled. Some registrants consider travel insurance to cover the cost of the registration, travel, and expenses for these types of situations. FMEA is not responsible for any registrant’s personal injury (i.e., physical, psychological, or emotional stress) or property damages while attending an FMEA conference or event. Conference registrants assume all risks inherent in attending an FMEA conference for which the registration covers, whether before, during, or after the conference.
Photographic Release
By attending the conference and/or associated activities, you grant permission for FMEA to use any and all photographic imagery and video footage taken of you and your students at this event and activities pertaining to this event, without payment or any other consideration. You understand that such materials may be published electronically or in print, or used in presentations or exhibitions.
Security Procedures
The Florida Music Education Association works with the Tampa Police Department and Allied Security at the Tampa Convention Center (TCC) to enhance the conference experience for the students and attendees.
Great News!
In order to help keep attendees safe, there will be a heightened security presence throughout the TCC and at various hotels. All entrances to the TCC will be patrolled by uniformed officers of the Tampa Police Department and uniformed Allied Security personnel. They will be patrolling the TCC as well. The Tampa Police Department will be at the crosswalks between Marriott Tampa Water Street and the TCC, at concerts, and patrolling some of the downtown hotels during rehearsals.
All attendees (this includes members, exhibitors, chaperones, and student participants) must wear their conference badge during the conference once the authorized registrant obtains the conference packet.
Please be prepared for random bag and/or purse searches. It is encouraged, if at all possible, to use a clear bag, similar to those used at sporting events, for entrance.
Student Experiences at the Conference
Jameyel “J. Dash ” Johnson
Keynote Speaker and One-on-One Interview With Fred Schiff, Florida Corporate Partners Chairman and NAMM Dealer of the Year
Jameyel “J. Dash” Johnson is a multi-platinum rapper, songwriter, music producer, engineer, and award-winning film composer. He also holds a degree in computer science from the University of Florida.
Although having already amassed an impressive collection of musical material over the years, J. Dash’s pulse-pounding dance sensation “WOP” is RIAA certified multi-platinum. He is the founder of SlapDash Productions, a boutique firm specializing in music production and sync licensing for TV and film. He moved to Austin in 2018 to help build the company Everlywell (now Everly Health).
DIRECTORS, STUDENTS, & CHAPERONES—
Join Jameyel “J. Dash” Johnson for Orchestrating Success: Careers in Music for Your Students
Thursday, January 9, 2025, 4:15 pm
TCC, Room 111
In today’s rapidly evolving social, commercial, and workforce landscape, the benefits of music education extend beyond the traditional performance and education career pathways. This session, presented in collaboration with the NAMM Foundation, features Jameyel “J. Dash” Johnson and other Florida Corporate Partners and music industry executives.
Currently, J. is a director of engineering with Everly Health, is on the board of directors of the Long Center for Performing Arts, the RISE Center for Liberation, and MOON Ultra Light, and is a national advocate for music education with the NAMM Foundation
In addition to giving the keynote address for the FMEA Student Conference and Tri-M Experiences, J. will participate in a panel discussion on the many careers available in the music industry.
Student Conference Experience students must be with chaperones at all times.
Events in bold are required.
THURSDAY, JANUARY 9, 2025
9 am SCE Session: Opening Kick-Off Meeting With J. Dash! TCC, Room 417
10:30 am FMEA FIRST GENERAL SESSION
TCC, Ballroom A
11 am Lunch on your own/exhibits
1 pm Mini Concert: USF Clarinet Choir
3 pm SCE Session: Leadership and Advocacy
TCC, Room 417
Clinician: Michael Antmann
5 pm FMEA College Night
TCC, West Hall A
There are many great concerts on Thursday evening. We encourage you to attend at least one:
6:30 pm UWF Singers
9 pm Voctave
9:15 pm UNF Wind Ensemble
FRIDAY, JANUARY 10, 2025
9 am FMEA SECOND GENERAL SESSION
TCC, Ballroom A
10:30 am SCE/Tri-M Session: Careers in the Arts
TCC, Room 417
11:30 am Lunch on your own/exhibits
2:45 pm
SCE/Tri-M Session: Conference Wrap-Up and the Way Forward!
Presenter: Charlene Cannon
TCC, Room 301
How do I get to the conference?
Making your case to attend the 2025 FMEA Professional Learning Conference
Getting approval to attend the Florida Music Education Association Professional Learning Conference may require developing a proposal. Due to tight budgets in today’s economy, school principals and districts carefully scrutinize requests to attend professional learning. That does not mean you should not give it your best effort by showing your administrators how your attendance will benefit the students in your school. Rather than assuming your administrators are aware of the critical importance of you professionally benefitting from content-specific sessions, consider submitting a formal proposal. Through this proposal, you can demonstrate how your participation directly relates to the strategies and the objectives of your school (including those beyond the classroom). This will allow you to articulate the need for your continuing education and how it will benefit your students, your school, and you.
Develop Your Case
w Write down three of the most important goals and strategies being addressed in your school’s plan.
w Think about how you personally contribute to those three goals and strategies. How does your work as a music educator affect the overall mission of your school? Make a list of your personal contributions to your school’s goals and strategies.
w Review the conference’s professional learning schedule to better understand how the information provided will support your school’s goals. Mark meetings that relate to your list of personal contributions to the attainment of those goals and strategies, and make note of the clinicians and others you will be able to observe and/or with whom you will be able to interact while at the conference. List the high-quality performances you will observe and from which you will learn. You can download the conference app from the FMEA’s website and bookmark your sessions.
w Write down your case for how attending the FMEA Professional Learning Conference and meeting the people there will help you contribute to your school’s goals and strategies, and use this case with your administrators when making your request to attend the conference.
When you create your proposal, in addition to providing a summary of the funding you will need, detail your case for attending. List your school’s goals, download the conference schedule, list the sessions and the clinicians and presenters who will be there, and list the specific sessions you plan to attend. Also, list the performing groups you will have the opportunity to observe during rehearsals with national clinicians as well as the performances by these well-known conductors (from whom you can gain programming and conducting ideas). Additionally, let your administrators know that this conference has more than 10,000 teachers, administrators, students, and parents in attendance, the second largest music education conference in the nation.
Finally, ask your administrators to support you to attend the FMEA Professional Learning Conference in Tampa, Florida, January 8-11, 2025.
Now’s the Time for Your in Music Education!
by D. Gregory Springer, PhD
HHave you ever felt like you are in a teaching rut? Have you ever missed the academic stimulation you felt when you were taking upper-level college courses? Do you feel a need to engage in more challenging, higher-level musical experiences? Have you ever wanted to increase your salary? Have you ever wondered if a doctoral degree was in your future? Have you felt the symptoms of burnout? If you have experienced any of these feelings, you may want to consider applying for a master’s degree program in music education! A master’s degree in music education is one of the most common forms of professional development for music teachers (Barrett, 2006), and I propose that earning a master’s degree can be one of the most rewarding experiences that can help sustain you through a long and successful teaching career. In this article, I discuss the master’s degree in music education, focusing on the different types of degree programs, the benefits of graduate study in music education, and recommendations for how to apply for master’s programs. I hope this article will help answer questions for teachers who have been wondering about master’s-level study and that it will spark curiosity among others regarding the benefits of getting a master’s degree.
What are the types of master’s degree programs?
Prior to the 1930s, music teachers who wanted to earn a master’s degree had no options in their primary field; those teachers had to complete degrees in related fields, such as music history or educational administration (Hash, 2020). Fortunately, there are now plenty of options for music teachers to engage in graduate study in music education. Although master’s degree programs in music education use a variety of degree names (e.g., Master of Music in Music Education, Master of Music Education,
continued on page 34
Master’s Degree
Master’s Degree
continued from page 32
Master of Science in Music Education, and Master of Arts in Music Education), these degrees tend to have similar purposes (Madsen, 2003). Therefore, for simplicity, I refer to these “master of music education” degrees collectively as “MME.”
MME programs come in a variety of delivery formats (academic year, online, summer, and hybrid programs), and each of these formats offers unique advantages to music teachers. Academic year MME programs are the oldest type of degree program, having begun as early as the 1920s and 1930s (Hash, 2020). With academic year programs, students complete coursework that occurs during the academic year, usually through face-to-face instruction on campus. Because most or all coursework tends to
occur face-to-face during the academic year, there may be limited options for online or summer study with academic year programs. Academic year programs are ideal for those who want to go to school full time, those who are interested in serving in a graduate assistantship role, or those who wish to perform in collegiate ensembles again.
Online MME programs started to emerge in the late 1990s due to the rapid technological growth during that decade. With the growing prevalence and availability of the World Wide Web, some universities began experimenting with online coursework, ultimately expanding to fully online degree programs. Since that time, a variety of online MME programs emerged around the United States, with the first fully online program opening in 2001 at the
University of Hawaiʻi at Mānoa (Hash, 2020). With online programs, all or most of the coursework is delivered in an online format using distance learning technology. Coursework may require synchronous meetings using video conferencing software like Zoom, or it may be asynchronous with no required class meetings. Online delivery formats allow greater access to graduate study, particularly by enabling music teachers to study at institutions that may be a long distance from where they live and work. Online programs also offer flexibility for busy music teachers because asynchronous online coursework can be completed at a time and location of the students’ choice (Albert, 2015).
Summer MME programs are another flexible option for working teachers who wish to obtain a master’s degree while teaching. Summer MME programs began in the early 1940s, due to an expansion of an existing academic year program to include a summers-only option for working teachers (Hash, 2020). Currently, there are a variety of summer MME programs around the country. With summer programs, most or all coursework tends to be completed face-to-face during several consecutive summer terms. Summers are an ideal time for working teachers to engage in graduate study (LeBlanc, 1991) because teachers will have opportunities to practice applying what they learn each summer with their own students during the academic year (Conway et al., 2008). The ability to toggle between intensive learning during the summer terms and hands-on application during the academic year is one of the defining characteristics and strengths of summer programs.
Hybrid MME degrees are also an option for working teachers. Hybrid programs involve a mixture of face-toface instruction and online instruction, often including both academic year and summer coursework. These programs are designed to capitalize on the benefits of different types of degree programs.
As you can see, there are many different types of delivery formats available, several of which offer great flexibility for working music educators. Because there are many benefits to this form of professional development, I encourage you to think about different MME options that may work with your career plans. Note that programs can differ from institution to institution, so it is important to do some research on the programs that interest you. At a minimum, I encourage you to research each program’s
website and speak to one or more of the music education faculty about their MME program. If possible, it is also helpful to talk to current students or recent graduates to gain a student’s perspective on the program.
Why enroll in an MME program?
There are many reasons why music educators may choose to enroll in an MME program. A few years ago, I surveyed master’s students around the United States to ask them what their primary motivations were for choosing to enroll in their MME program (Springer, 2020). Among a large number of options, these master’s students overwhelmingly selected four primary motivations for enrolling in an MME program regardless of their program’s delivery format (academic year, online, summer, or hybrid):
1. To become a better teacher
2. To earn a higher salary
3. To gain academic stimulation through graduate-level coursework
4. To create a possible pathway to doctoral study in the future
Other motivations (e.g., “to become a better musician,” “to share experience and knowledge with colleagues,” and “to renew my teaching certificate or get an advanced credential”) tended to vary among students from the different types of degree programs. Music education faculty seem to be aware of these student motivations because in another study, two colleagues and I asked music education faculty around the United States why they perceived that students enrolled in their MME programs (Springer et al., 2022). Those faculty indicated the same common motivations among the students enrolled in their MME programs (i.e., to become a better teacher, earn higher salary, gain academic stimulation, and create a bridge to future doctoral study).
If you are considering the possibility of an MME degree in the future, consider how your own motivations align with different program delivery formats and focus areas. I encourage you to make a list of all your motivations. Doing so may help you decide what type of program would be the best fit for your future plans. Decisions about graduate school—much like any other big career decisions—are difficult, so making a list of your motivations will help you think more objectively and identify continued on page 36
Master’s Degree
continued from page 35
the type of program that will best meet your professional development needs. I have had the pleasure of serving on the music education faculty at three universities around the United States that offered MME programs, and across those different universities, I have personally worked with students in academic year, online, summer, and hybrid formats. I can say from personal experience that all of these types of delivery formats work well for music teachers.
How do I apply, and what do faculty look for?
Applying to graduate school may seem daunting, but I assure you the process is simpler than it may appear. Although MME programs have different focus areas and priorities, the admissions requirements tend to be relatively similar from institution to institution. Typically, applicants must submit an online application to the college/university, followed by a separate application to the department/school/college of music. At some point in the process, applicants will usually be asked to input the names and contact information of three or four professional references, who will be contacted automatically via
email with a request to upload a recommendation letter. Typically, applicants will also be required to submit official transcripts from their previous institutions, and they will be asked to upload additional materials as part of the application (e.g., resume or curriculum vitae, writing sample, and teaching video). Keep in mind that there are some differences in the application procedures from institution to institution, so use this information just as a general guide of what to expect.
In another research study, some colleagues and I surveyed music education faculty from around the United States who taught at institutions that offered MME degrees (Springer et al., 2023). In that study, we asked the faculty about the admissions requirements for their MME program. The most common required admission items for MME programs were (a) undergraduate transcripts, (b) recommendation letters, (c) a writing sample, (d) an interview with faculty, and (e) a teaching video. Other less-common admissions requirements included standardized test scores (e.g., the Graduate Record Examination or GRE) and a performance audition on primary instrument, among others. We also asked the faculty members how important various selection criteria were when making admissions decisions for prospective MME students. This information was important because it helped us gauge not only what different institutions require for admission, but also how important each criterion is considered when making admissions decisions. Faculty reported that the following selection criteria were most important in their admissions decisions for prospective MME students (arranged in order of importance, starting with most important):
1. Recommendation letters
2. Undergraduate grade point average (GPA)
3. Writing ability
4. Musicianship
5. Teaching experience
Other selection criteria were reported to be less important in their admissions decisions, such as the quality of an applicant’s undergraduate program, reputation of an applicant’s former professors, and standardized test scores (e.g., GRE). In fact, you might be pleased to know that standardized test scores were rated the lowest of all selection criteria, indicating that most faculty did not view them as important considerations in admission
decisions (Springer et al., 2023). This finding mirrors a larger movement in higher education that began during the onset of the COVID-19 pandemic; many colleges and universities have begun to remove GRE scores (and other standardized test scores) as admissions requirements for graduate programs (Sullivan et al., 2022).
Know that when making admissions decisions, many MME faculty review applications with a holistic approach, meaning they consider all aspects of the application as a whole, rather than relying on strict “cut scores” on a single assessment area (e.g., GRE scores or GPA) to determine who to admit. It is rare to see an applicant who has “aced” every area of evaluation. For example, an applicant whose undergraduate GPA is not stellar may have other qualifications and experiences that boost their application status. Knowing that many music education faculty consider recommendation letters to be the most important selection criteria for admissions (Springer et al., 2023), make sure you choose recommenders who are well familiar with your professional work and who have the time to write a strong letter for you. To ensure your recommenders have adequate time to write a good recommendation letter, I recommend giving them plenty of advance notice (at least two or three weeks’ notice).
Conclusions: What do I do now?
As previously described, there are many reasons why music teachers should consider an MME degree: to become a better teacher, to challenge yourself through high-level coursework, to create a possible bridge to doctoral study in the future (for those with plans for a doctorate), to improve in your musicianship, and many other reasons. Many states and school districts also offer higher salaries for teachers who have earned a master’s degree in an education field. Given all these benefits, I encourage you to apply for an MME program if it aligns with your career goals. Note that the priority admissions deadline is in early December for many colleges and universities, which is earlier than expected for many people. When applying to graduate school, I recommend that you submit all your materials by the priority admissions deadline for the most competitive application possible. There are numerous MME programs at colleges and universities throughout the state of Florida, including academic year, online, summer, and hybrid programs.
I encourage you to review program websites to see what programs are available to you, and feel free to reach out to the music education faculty at any colleges and universities that interest you. My Florida music education colleagues and I stand ready to answer your questions about our MME programs.
D. Gregory Springer, PhD, is associate professor of music education and director of the Center for Music Research at Florida State University. At FSU, he teaches graduate music education courses and provides leadership for FSU’s Summer MME program for working teachers. He also serves on the FMEA Research Committee.
References
Albert, D. J. (2015). Online versus traditional Master of Music in Music Education degree programs: Students’ reasons for choosing. Journal of Music Teacher Education, 25(1), 52–64. https://doi.org/10.1177/1057083714548588
Barrett, J. R. (2006). Recasting professional development for music teachers in an era of reform. Arts Education Policy Review, 107(6), 19–28. https://doi.org/10.3200/AEPR.107.6.19-28
Conway, C., Eros, J., & Stanley, A. M. (2008). Summers-only versus the academic year Master of Music in Music Education degree: Perceptions of program graduates. Bulletin of the Council for Research in Music Education, 178, 21–34. https://doi. org/10.2307/40319336
Hash, P. M. (2020). A historical overview of music teacher education in the United States. In C. Conway, K. Pellegrino, A. M. Stanley, & C. West (Eds.), The Oxford handbook of preservice music teacher education in the United States (pp. 44–66). Oxford University Press. https://doi.org/10.1093/ oxfordhb/9780190671402.013.3
LeBlanc, A. (1991). Planning your summer graduate work. Music Educators Journal, 77(7), 28–30. https://doi.org/10.2307/3398168
Madsen, C. K. (2003). Instruction and supervision of graduate students in music education. Research Studies in Music Education, 21(1), 72–79. https://doi.org/10.1177/132110 3X030210010601
Springer, D. G. (2020). Students’ perspectives on the master’s degree in music education. Journal of Music Teacher Education, 30(1), 79–92. https://doi.org/10.1177/1057083720951447
Springer, D. G., Adams, K., & Nápoles, J. (2022). Faculty perspectives on the master’s degree in music education. Journal of Music Teacher Education, 31(2), 26–40. https://doi. org/10.1177/10570837211067758
Springer, D. G., Royston, N. S., & Allen, A. D. (2023). Admissions and selection criteria for master’s students in music education degree programs. Journal of Music Teacher Education, 32(2), 71–85. https://doi.org/10.1177/10570837221120761
Sullivan, L. M., Velez, A. A., Longe, N., Larese, A. M., & Galea, S. (2022). Removing the Graduate Record Examination as an admissions requirement does not impact student success. Public Health Reviews, 43, Article 1605023. https://doi. org/10.3389/phrs.2022.1605023
by Michael Tignor
M It Is Real Music Utilizing Popular Music in Your Ensembles
“Music of all periods, styles, forms, and cultures belongs in the curriculum. The musical repertory should be expanded to involve music of our time in its rich variety, including currently popular teenage music and avantgarde music, American folk music, and the music of other cultures.” This is the second statement made in the Tanglewood Declaration at the Tanglewood Symposium in 1967 (Madsen, p. 19). When the Music Educators National Conference (MENC and currently NAfME) leaders came together, they were concerned that the generation gap between teachers and their students was widening and worried it would soon lead to the younger generations’ disengagement with school music. Two attendees of the symposium represented the youth: Paul Williams, the editor of the rock magazine Crawdaddy, and Mike Stahl, a member of the rock band Coconut Groove.
During the Pop Music Panel discussion, their feedback helped bring to light the lack of respect for popular music due to its lack of complexity. Williams and Stahl argued that rock music simply has different values than school music, such as the idea of the composer who is also a performer, and original sounds of the combination of lyrics and the melody and rhythm of the instruments. While the idea of introducing popular music into the schools was met with mixed feelings, popular music had a seat at the table and was finally being addressed (Gurgel, 2019).
Again, in 1999, some of the world’s greatest minds in music education came together in Tallahassee for the Housewright Symposium to continue discussing the issues facing music education. The Housewright Declaration, a document compiled throughout the symposium, states “All music has a place in our curriculum … music educators also need to be aware of other music that people experience and be able to integrate it into classroom music instruction” (p. 50). Like the Tanglewood Declaration, this statement encourages a belief that all music is important and needs to be included in the classroom. However, there is a subtle difference in that the Housewright Declaration implies that music is something that people do and experience (“other music that people experience”) and not just an object or work (“Music of all periods, styles, forms, and cultures …”) (McCarthy, 2020, p. 54).
This idea of teaching more than “school” music is not new, as our music education leadership has been promoting it for nearly 60 years. In the present day, there seems to be a large initiative to include popular music in our curriculum. David Knapp says, “Scholars have long argued that popular music deserves inclusion so that we may attract more students into our classrooms. However, the argument for greater use of popular music continued on page 40
Scholars have long argued that popular music deserves inclusion so that we may attract more students into our classrooms.
It Is Real Music
continued from page 38 tap into musical cognitions with ease
goes beyond only increasing enrollment rates. By using popular music in classrooms, teachers are able to tap into musical cognitions more easily by starting the learning where the students are. Simply put, popular music not only removes barriers to participation but also barriers to deep musical learning” (personal communication, May 23, 2024).
The inclusion of popular music can certainly be beneficial to your music programs. This is not a matter of creating additional classes. Incorporating the following suggested small ways you can include popular music education in your curriculum can benefit your students and existing programs.
Using Popular Music to Help Teach Fundamental Concepts
Ideally, whether in the auditorium or out in the stands of the football field, music teachers want their groups to perform to the best of their abilities. Proper articulations, intonation, breath support, phrasing, dynamics, and every other concept taught in the classroom are just as important during the football game. Often, so much of rehearsal time is spent focused on the “real” music that the stand tunes get tossed to the side. Find time to study the stand tunes and find spots where you can go over concepts that will transfer to other music you are working on. Many stand tunes have sections that challenge students’ technicality, balance and blend, intonation, etc. Additionally, the use of popular music can help improve aural skills in your students. While many students are learning music “informally” through listening to recordings or watching YouTube videos, classical musicians commonly listen and play along to recordings as well to improve their own performance (Smart & Green, 2017, p. 117–118). The use of listening can also help your students make their own musical decisions. When preparing a piece for solo and ensemble, the students’ ability to identify and differentiate how recorded musicians play certain phrases or passages and then deciding how they’d like it to be played is higher-level thinking.
Popular Music as a Recruitment Tool
A former member of the tuba section in the FSU Marching Chiefs once told me that he was four years old when he knew he wanted to be in marching band. He saw the sousaphones “flush” the field at an FSU football game, and from that moment, he was hooked. Many other members of the Marching Chiefs seem to have similar stories about their initial interest in being in marching band. Marching bands are easily the most seen band ensemble by a school’s community. Professional orchestras aren’t typically selling out concerts for the music of Beethoven, Mozart, or Tchaikovsky, but good luck finding a ticket when they announce their “Tribute to John Williams” event.
One recruiting tool involves play-along concerts or visits to feeder schools to perform a concert and hopefully drum up interest in your programs. Don’t get me wrong, there’s nothing wrong with a great performance of standard repertoire, but if an ensemble pulls out an “insert-popular-movie” medley, that’s sure to stir up some excitement.
Popular Music as a Fun Change of Pace
Sure, there aren’t many movie medleys or top 40 hits in the “Teaching Music Through Performance” series, but there’s nothing wrong with letting loose and creating additional enjoyable experiences for students. They want to perform music they can have fun with, and their parents want to hear music they also know and enjoy. After a long winter of preparing MPA music, why not incorporate some popular music into your final concert? Many times, this is when those recruitment events occur, so it’s a great way to kill two birds with one stone, and it also gives your students a chance to relax (kind of) after the months of MPA prep. My goal when planning my concert rep has always been to include one popular song on the concert program that gives the audience something memorable to go home with. As most of your audiences are likely untrained musicians, they’d probably enjoy a movie medley or other popular music selection.
Popular Music Can Promote Student Involvement
Many if not most times, the director is solely in charge of choosing what music is played throughout the school year. Many factors go into these repertoire decisions, but generally, teachers make their decisions with their students’ best interests in mind. However, it’s safe to say that students enjoy getting to have some autonomy over what goes on in their lives, and the ability to have input in music selection is a great way to accomplish that. Despite our efforts to keep up with modern pop culture, our students are the experts of what interests them most. In addition, this can lead to opportunities for student arrangements, the formation of small chamber ensembles, etc. These are all positive musical outlets that can have a positive effect on a student’s musical experience.
Conclusion
Large ensembles have always been the driving force of music education in secondary schools. Recently, there has been an uptick in additional music offerings, such as guitar, and even more recently, music production, which typically involve more modern, popular music. While these courses are much-needed additions that help recruit students who may not be interested in the traditional large ensemble, it can be incredibly beneficial to begin incorporating popular music into large ensembles as well. Our NAfME leaders have been very clear that all music
help improve aural skills
in your students
has a place in the curriculum. While the inclusion of popular music can make the student experience more enjoyable, it can also help show students that their teachers are interested in their interests. The suggestions above are just that, suggestions, but they can be useful in keeping large ensembles relevant and enjoyable for students.
Michael Tignor is a third-year PhD student at Florida State University. He holds degrees in music education from the University of Louisville and the University of South Florida. Prior to his doctoral studies, he served as the band director at the University of West Alabama.
References
Gurgel, R. (2019). The Tanglewood Symposium: Popular music pedagogy from 1967 to today. Music Educators Journal, 105(3), 60–65. www.doi.org/10.1177/0027432119831752
Madsen, C. K. (Ed.). (2000). Vision 2020: The Housewright Symposium on the future of music education. MENC –The National Association for Music Education.
McCarthy, M. (2020). The Housewright Declaration: A lens for viewing music education in the early twenty-first century. Contributions to Music Education, 45, 47–66.
Smart, T. & Green, L. (2017). Informal learning and musical performance. In J. Rink, H. Grant, & A. Williamson (eds.), Musicians in the making: Pathways to creative performance (pp. 108–125). Oxford University Press.
Component News
Itis October, and the first quarter is already coming to an end. High school marching band season is in full swing, and middle school beginners are starting to play with characteristic sounds. Well … at least some of them. This is the time of year when stress levels begin to rise and our energy levels begin to drop. Check in on your friends and colleagues. Find some time for social engagements that are not only about music. We all need to support each other!
Why not take advantage of the mentoring opportunities FBA has to offer? Check out the FBA mentoring page here.
Did you know the Florida Bandmasters Association has a network of people who want to see you succeed in your workplace and in your personal life? We have approved adjudicators who are willing to listen to recordings of your band and provide feedback and suggestions about
approaches to learning. This does not need to be a perfect recording! I record my students nearly every day. I frequently share these recordings with approved
FLORIDA BANDMASTERS ASSOCIATION
Jeff Cayer, EdD President
adjudicators to get feedback from them. Have you taken advantage of this free opportunity? Simply email an audio recording of your band and get feedback from approved adjudicators. The recording can be from a rehearsal or a concert. Start getting feedback early in the year so you can plan accordingly for upcoming performances. This can be done anonymously if preferred.
I love inviting people into my room! This can be done in person or digitally. Many retired directors would love to work your full band, sections, or individuals, acting as a sage sounding board and giving feedback on rehearsals or performance recordings. Retired directors can serve as one of your mentors—regardless of locality. We want all directors to dream, think big picture, and have any mentor they want. With technology, listening and advising are wide open with ideas!
Do you find yourself struggling in the sight-reading room at MPA? Are you frustrated every time your students attempt to sight-read? Do you want to learn more about the sight-reading process? There
are many ways to approach sight-reading, and experienced directors are willing to share their thoughts and techniques regarding this important skill.
New directors in years one to five have a great opportunity to meet online. Looking for ideas for your classroom? Need some help with making your band sound great? Want to connect with other new directors? Feel like you are drowning? Join Bernie Hendricks’ Hi-Five group as soon as possible! His email address is on the mentoring page
Are you struggling with work/life balance? Would you like some resources to assist with building efficient work habits to protect your personal time? Dr. Dré Graham has demonstrated in his own life how to manage a busy work life with a healthy home life. He and his committee are here to help you!
I have been enjoying the mentoring photos on social media—breakfast opportunities, wings Wednesday, etc. Be creative! Get together with colleagues and decompress. The next couple months are going to be busy!
s hard as it is to believe, October has already arrived. It feels like we just started the school year, yet if your program began in early August, like many of ours did, we’re already approaching the end of the first quarter. Time seems to have flown by, and many of us are still establishing routines, organizing music folders, and settling into the rhythm of the year. Some of you are likely preparing for your first concert of the season, and I want to wish you the best of luck in your upcoming performances.
Looking ahead, I’m excited to see many of you at the FOA Fall Conference, October 10-11. This year, we’re fortunate to have Creston Herron as our keynote speaker. In addition to delivering the keynote, Mr. Herron will present a session titled “Ignite Your Inner Champion” and will also lead the music reading session on Friday afternoon. I encourage you to bring your instruments and join in.
The conference offers a range of valuable sessions that are sure to inspire and inform our teaching practices. Topics include “Baroque Style in the String Orchestra Classroom,” “Fiddle Tunes, Improvisation, and Fiddling Tunes from Different Traditions,” and “Chamber Music: It’s Not Just for S&E.” For full details, including the complete schedule, please visit the FOA website a myfoa.org
One of the most rewarding aspects of the conference is the opportunity to connect with fellow directors. I encourage you to take advantage of the informal time at meals to share your experiences, challenges, and successes. Often, in these conversations, we discover solutions to common issues and gain new perspectives.
Finally, I’d like to encourage you to participate in the allstate audition selection process on Saturday, October 12. It’s an experience that offers valuable insight into the level of preparation and commitment required of our students. Also, if you have reserved hotel rooms that you no longer need after the all-state results are posted, please consider releasing them to assist those still in need of accommodations.
I look forward to seeing you at the conference and to a productive and inspiring year ahead!
FLORIDA ORCHESTRA ASSOCIATION
Laurie Bitters President
Component News
Fall Conference is here!
Octoberis always an exciting month in higher education. Its arrival means midterms are right around the corner (already!), hurricane season is almost over (knock on wood!), it should start cooling off a bit outside (at least for some of us), and the Florida NAfME Collegiate Fall Conference is about to kick off! Your state executive board members have been working for months to design a memorable experience that will benefit you in countless ways. Since I have limited space in this column, I’ll only highlight two: professional development and social networking.
Fall
Professional Development
Consider, for a moment, that you are all essentially completing the same program of studies. You’re transitioning from student to practitioner by gaining expertise in music theory, music history, classroom management, performance, conducting, philosophy, technology, methodology, and more. If we were to compare the coursework for all collegiate music education programs in Florida, we would find all students complete essentially the same courses. You’re also completing the same certification exams (the FTCE) and receiving the same professional teaching
Con is only a few weeks away! I’m incredibly excited about everything we have planned. One of my favorite parts of Fall Con is the ability to meet and socialize with collegiates from all over the state. Fall Con is a fantastic source for professional development, but I believe its real value comes from the opportunity to network.
Networking is a huge part of the collegiate experience. As we meet more people, we form more connections, and when the time comes to find our first job, those connections will likely come in handy. When I first arrived at UNF, upperclassmen and professors informed me that conferences such as FMEA are a fantastic way to network. So, I followed their advice, went to FMEA, and discovered there were 10,000 people at this conference. I had no idea where to start. There were so many people to meet, but I was way too intimidated to talk to anyone. I ended up having a fantastic time and learned a lot, but I didn’t really do any networking that year.
That’s what’s so wonderful about Fall Con! Because it’s a small conference attended by collegiate members, this strips away all the anxiety that may come with a large conference such as FMEA. Instead, there is an intimate and relaxed atmosphere that makes it simple to get to know everyone and build friendships. We want to emphasize that aspect of Fall Con this year, so we have planned an ice cream social to start the conference, a game night on Saturday evening, and a lunch with the supervisors on Sunday.
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD
Advisor
certificate (K-12 Music). So, what will separate you from everyone else applying for the same job you want after graduation?
There are lots of ways to answer that question. You are a unique individual, and perhaps you have special skills others might not (e.g., you’re bilingual, you picked up an extra certificate in English for Speakers of Other Languages [ESOL] or Exceptional Student Education [ESE], or you have experience performing in off-Broadway productions). That said, it’s not too late for you to earn a few extra lines on your resume that will tell a
FLORIDA NAfME COLLEGIATE
Megan Robichaud President
There are so many ways to network beyond conferences. When I was first introduced to networking, it seemed like a terrifying prospect, especially my first year at FMEA. However, it’s really just a fancy word for building relationships. A lot of networking happens organically. We often forget that most of the networking we do happens at our own university. The friendships we make and the people we attend class with are all a part of the personal network we are building. Even more important are the relationships we form with our professors. Your professors will remember if you’re consistently late to class or put the bare minimum into assignments, and it may affect how they talk about you to potential employers. I’m not saying that one tardy can make or break your chances at a job, but it can be a huge asset to have your professors in your corner. It is not worth it to sabotage your relationship with them. Be genuine, be communicative, and be someone they can rely on.
Networking doesn’t have to be intimidating, and a big goal of mine as Florida NAfME Collegiate president has been to facilitate networking opportunities for collegiates. Fall Con is one example of that, and I hope to see you all there!
future employer you’re serious about the profession you’re about to enter. That’s where the Florida NAfME Collegiate Fall Conference can help.
During the Fall Conference, you’ll get a chance to participate in clinics designed specifically for preservice music educators. That’s you! You’ll be provided with information that will not only help you to successfully complete your degree, but you’ll also receive tools to navigate those crucial first years as a professional educator … when everything you do is consequential! Not only will you have a chance to attend workshops and clinics, but you’ll get to hear directly from music supervisors who are often involved with the educator hiring process in school districts across the state. Someone once told me, “For every minute you’re not practicing, someone else is, and they’re gonna get your gig.” Transfer. Live like no one else now so that later you can LIVE like no one else! Set yourself up to win.
Social Networking
A big component of the Fall Conference is social networking. Show me your friends and I’ll show you your future! During the weekend, you’ll have opportunities to meet, collaborate with, and develop professional relationships with peers and future colleagues from around the state. That includes current college students, in-service educators, and administrators. Don’t miss this opportunity to cast a wide net!
I hope we’ll see you (and a bunch of your chapter members) October 19-20 at the University of North Florida. If you have questions or need assistance, please contact us at flnafmecollegiate@ gmail.com. See you soon!
Hello,FLORIDA VOCAL ASSOCIATION
David Pletincks President
everyone, and greetings to you all. I am so excited about the numbers we had for all-state auditions this year. We had almost 1,300 middle school auditions, which is up by over 250 students from last year. At the high school level, we had more than 1,900 registrations, which is an increase of around 70 singers.
We have an incredible slate of clinicians to conduct our Florida All-State choirs in January. Our middle school chair, Michelle Tredway, has lined up two wonderful directors for our middle school choirs.
Conducting the All-State Middle School Treble Chorus will be Dr. Hillary Ridgley from Shenandoah University in Virginia. Dr. Ridgley is no stranger to Florida, having been raised in Florida and teaching for many years at Rochelle School of the Arts in Lakeland.
Our All-State Middle School Mixed Chorus will be conducted by Dr. Emily Williams Burch, from Savannah College of Art and Design in Savannah, Ga. Dr. Burch was introduced to our membership this summer as one of our summer conference presenters. All our middle school singers will be in for a tremendous, life-changing experience.
At the high school level, our AllState Reading Chorus will be under the direction of Dr. Tucker Biddlecombe, from Vanderbilt University. Dr. Biddlecombe was also at our summer conference as our keynote speaker. With the way he captivated our membership in his two sessions, I know our Reading Chorus members will be learning so much from him over their two days together.
Our All-State SSAA Chorus will be under the direction of the incomparable Dr. Andrea Ramsey. She has conducted honor choirs all over the world, and we are so excited to have this gifted clinician/composer/conductor investing in our treble singers. Our high school SA singers are going to have an experience they will remember for the rest of their lives.
One of Florida’s own, Dr. Trent Brown, from Florida Gulf Coast University, will be directing the All-State TTBB Chorus this year. Dr. Brown told me he has always had a tremendous fondness for TB choirs and conducting this choir has always been a dream of his. I, myself, am very excited to see the performance he has planned for our TTBB Chorus.
And finally, our high school All-State Concert Chorus will be directed by Dr. Jason Max Ferdinand, from the University of Maryland. Dr. Ferdinand spent many years as the conductor of the Aeolians at Oakwood University. He is also the founder and artistic director of the Jason Max Ferdinand Singers, a professional choir that just made their UK debut at the BBC Proms concert at Royal Albert Hall in September. Whether or not you have students in the Florida All-State choirs, you will not want to miss any of these spectacular performances. With just a couple of months to go, we are not far away from meeting together in Tampa. I look forward to meeting as many of you as possible during the four days of rejuvenating and replenishing our spirits for the spring semester.
ResearchPuzzles FOR MUSIC TEACHERS
William I. Bauer, PhD FMEA Research Committee Chairperson, University of Florida
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
Student Autonomy and Democracy in Large Ensembles
Traditionally, music educators have used a teacher-centered approach with large ensembles, directing instruction and maintaining control over the learning process. While this method often produces strong ensemble performances, it can overlook the development of some aspects of students’ individual musicianship. As a result, some teachers are shifting toward more student-centered rehearsals that encourage greater student agency and responsibility for meeting learning outcomes. In response to this shift, researcher and music educator Matthew D. Schatt (2022) investigated democratic, student-led ensemble experiences in a high school band program.
Schatt (2022) grounded his study in self-determination theory (SDT), a psychological framework that emphasizes the importance of meeting three basic human needs: competence, relatedness, and autonomy. According to SDT, when these needs are met, students become more intrinsically motivated, engage more deeply in learning, and show persistence in their activities. In the context of music education, SDT has been used to explain why autonomy-supportive environments lead to greater student satisfaction and achievement. Schatt identified a gap in research on large ensembles in secondary schools, where student-led practices are less common compared to chamber music or informal music education settings. This gap formed the rationale for the exploration of democratic music rehearsals to promote student autonomy, intrinsic motivation, and engagement.
Purpose and Research Questions
The purpose of Schatt’s (2022) study was “to explore the phenomena of participation in a democratic large ensemble experience in a secondary public school setting” (p. 51). Four research questions were explored:
1. Do high school band students feel capable of performing a musical work without teacher intervention?
2. In what ways do high school band students describe the experience of performing in a student-led large ensemble?
3. What musical decisions were most often made by high
school band students in a student-led large ensemble?
4. Were there any changes in high school students’ perceptions of autonomy following a student-led large ensemble music rehearsal and performance experience? (p. 51)
Methodology
Schatt (2022) employed an explanatory design, collecting both qualitative and quantitative data simultaneously. Qualitative data included classroom observations, audio recordings of rehearsals, and interviews with participants. Quantitative data was gathered through a pretest-posttest survey that measured students’ beliefs about the role of the teacher and their own capabilities before and after the student-led ensemble experience.
The ensemble chosen for the study consisted of 63 high school students enrolled in a suburban school with high socioeconomic status. The music teacher had no prior experience with student-led rehearsals. The students rehearsed a selected piece, “Hymn to the Fallen” by John Williams, over 10 class periods, with each rehearsal lasting at least 15 minutes. The teacher stepped back from the podium, allowing students to lead the rehearsals while the researcher observed and took field notes.
Data Collection and Analysis
Quantitative data, collected via the pretest/posttest survey that employed Likert-type scales to ascertain students’ beliefs about the necessity of the teacher for rehearsal, performance, and maintaining order, as well as their own confidence in identifying and resolving musical issues, were analyzed using descriptive statistics and a t-test. Qualitative data, which included field notes, audio recordings of rehearsals, and student interviews, was coded to identify recurring themes such as tone, rhythm, balance, and student interactions during the rehearsal process. The thematic analysis helped provide a deeper understanding of how students navigated their new roles as leaders in the ensemble.
Results/Findings
The data analysis revealed that participation in the democratic large ensemble experience had several effects on the students:
1. Student Perceptions of Teacher Necessity: Before the study, students strongly believed that the teacher was essential for the rehearsal process, maintaining order, and ensuring a successful performance. However, post-experience, these beliefs diminished. Although students initially saw the teacher’s role as crucial, they became more confident in their abilities to self-regulate and manage the rehearsal process independently.
2. Musical Decision-Making: As students assumed responsibility for rehearsing the ensemble, they demonstrated an increased capacity to make musical decisions, particularly concerning rhythm, interpretation, and balance. They became more attuned to the needs of the ensemble, offering constructive feedback to their peers and developing rehearsal strategies similar to those used by their teacher.
3. Autonomy and Self-Efficacy: Over the course of the study, students demonstrated a significant increase in self-efficacy, particularly in their ability to detect and address musical issues in their own performance and the performance of those around them. They also became more confident in contributing their opinions during rehearsals, although some students expressed concerns about whether their peers listened to their suggestions.
4. Student Descriptions of the Experience: Interviews with students revealed that although the experience was initially challenging and anxiety-inducing, students felt a sense of accomplishment and pride after successfully rehearsing and performing without the teacher’s direct intervention. Many students were surprised by their ability to lead and make decisions collaboratively, describing the process as empowering.
Discussion
The findings suggest that student-led ensemble experiences can significantly contribute to developing autonomy, leadership, and collaborative skills among high school musicians. The results align with self-determination theory, confirming that autonomy-supportive environments foster greater intrinsic motivation and engagement. The study provides evidence that when given the opportunity, students can rise to the challenge of taking ownership of their learning process, even in large ensemble settings where teacher-directed instruction is the norm. However, the results also highlighted some challenges. While students became more confident in their abilities, many expressed doubts about their peers’ willingness to listen to their suggestions. This suggests that further attention to
building a sense of community and mutual respect in ensemble settings is necessary for democratic practices to thrive.
Implications for Music Educators
Based on this study, the author suggested practical implications for music educators:
1. Incorporating Autonomy-Supportive Practices: Educators are encouraged to create opportunities for students to take control of their learning, such as allowing them to self-select music, peer-rehearse, and perform without a conductor. These practices can be gradually introduced, with the teacher stepping back in small, manageable ways.
2. Non-Controlling Language: Teachers can adopt non-controlling language in their interactions with students, which has been shown to increase autonomy and intrinsic motivation.
3. Student Voice in Rehearsals: Providing students with the opportunity to critique their rehearsals and performances in their own voice, rather than relying solely on the teacher’s feedback, can foster a sense of ownership and self-efficacy.
4. Soliciting Feedback: Teachers can regularly solicit student input on rehearsal techniques and strategies for improvement, helping to build a more collaborative and democratic learning environment.
To learn more about this topic and to explore the research on other aspects of music teaching and learning, access the NAfME journal Update: Applications of Research in Music Education website, which can be found at https://bit.ly/ nafme-update. The mission of UPDATE is to bring “research in music teaching and learning close to everyday practice to help teachers apply research in their music classrooms and rehearsal halls” (National Association for Music Education, 2024, para. 1). All FMEA members can access and read Update as part of their FMEA/NAfME membership.
References
National Association for Music Education. (2024, September 7). Update: Applications of Research in Music Education. https://nafme.org/ publications-resources/journals/update-applications-of-research-inmusic-education/ Schatt, M. D. (2022). Passing the baton: Building student autonomy and democracy in the large ensemble setting. Update: Applications of Research in Music Education, 40(3), 49–59. https://doi. org/10.1177/87551233211041693
Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.
Committee Reports
Orff Schulwerk in Action:
DIVERSE LEARNERS COMMITTEE
Christine Lapka, EdD Chairperson
Enhancing Learning Outcomes for Secondary Exceptional Education General Music Students
by Julie Simmons
little over a year ago, I interviewed for a middle school choral position. I was asked how I would teach an integrated class of self-contained exceptional education (ESE) students and general population beginning chorus students. My interviewer was surprised when I explained that teaching such a class would not be beneficial due to the significant differences in the social, emotional, and educational needs of the two student groups. I instead suggested teaching the two groups separately and then including the ESE students on chorus concerts and/or have volunteer advanced chorus students assist in teaching the class with me. A month later, during pre-planning, I developed a plan for how I would meet the needs of my new self-contained ESE general music class and decided to return to my elementary roots and the Orff Schulwerk method, which has guided my teaching for the past 15 years.
The Orff Schulwerk approach to music education is structured in four stages: imitation, exploration, improvisation, and composition. Although often viewed as an elementary method, its principles are applicable to all levels of music
education. This method excels at breaking concepts down into their smallest parts and quickly scaffolding lessons to achieve understanding and mastery. Its use of percussion instruments makes it effective for teaching ESE students because most ESE students are capable of striking, rubbing, and shaking motions. My school had limited mallet instruments, so when I received information about a grant from the Orange County Public Schools Phoenix Foundation, I applied. The grant offered up to $15,000 for visual and performing arts teachers to purchase classroom supplies, materials, and equipment. I wrote a grant requesting funding for mallet instruments, tubano drums, auxiliary percussion, adaptive mallets, individual resonator bells, xylophone stands for students in wheelchairs, and even desk bells playable with a single finger.
These instruments ensured that every student, regardless of their disability, could play and participate in class. Diversifying instruction also became easy as I could always remove bars, change instruments, or even modify the part itself to help a struggling student keep up with the class. As expected, my students made significant gains in the areas of coordination,
listening skills, music appreciation, and understanding concepts such as pitch, rhythm, and steady beat. There were also several unexpected outcomes, including increased focus, improved communication skills with adults and peers, and significant growth in memorization abilities.
Although I couldn’t get parents to commit to bringing the students to the concert, the class-recorded performance was played at the end-of-year chorus concert, earning a huge standing ovation from students and parents. The following week, the class performed live at their moving-up ceremony and received another standing ovation from administrators, teachers, and parents, many of whom were in tears. Later that day, my principal asked how I did it. I replied, “I saw the abilities of my students and found instruments and an instructional method that made those abilities shine.”
Julie Simmons is an Orlando native who is passionate about teaching music to low-income, at-risk students as well as self-contained ESE students. She holds a BME and an MA from the University of Central Florida. Mrs. Simmons has 16 years of teaching experience, including 14 years in Orange County Public Schools. Mrs. Simmons has dedicated eight years to teaching elementary general music, with four of those years including ESE general music classes. She has spent the past six years teaching middle school chorus. She currently teaches chorus and ESE general music at Piedmont Lakes Middle School in Apopka, Florida. In addition to being a public school chorus teacher, Julie Simmons is the founder and executive director of the Central Florida Youth Chorus, reflecting her deep passion and commitment to nurturing young musical talent.
MULTICULTURAL NETWORK COMMITTEE
Arnekua Jackson, PhD Chairperson
Integrating Multicultural Perspectives in All-State Audition Preparation
A Path to Musical Growth and Diversity
Preparing your students for all-state auditions is a journey of growth, requiring dedication, discipline, and a deep connection to music. Beyond technical skills, it’s an opportunity to explore diverse musical traditions and embrace a multicultural perspective that can elevate their performance.
As you incorporate and engage with different musical influences, approach them with respect and cultural sensitivity. Understanding the history, traditions, and meaning behind the music enriches their interpretation and honors the traditions you’re drawing from.
All-state preparation is not just about technical excellence but about expanding your students’ musical palate. By including diverse music literature in their repertoire, they will become more versatile and expressive musicians. Let this journey inspire and challenge them as they explore the rich tapestry of the world’s musical traditions.
Best wishes on your auditions! You’ve got this!
Committee Reports
AWARDS COMMITTEE
Sondra A. W. Collins Chairperson
Are you part of a middle or high school music program that offers dynamic music instruction with high recruitment and retention numbers?
If so, you can be a part of this year’s awards program by applying for the FMEA Music Education Enrollment Award! To qualify, 30% at the high school level and 45% at the middle school level of the entire school’s population must be involved in a music program taught by an FMEA member.
Have you been teaching music for 25 or more years?
If so, you qualify for the Music Education Service Award, and the application process is very simple. If this is you, submit your application so you can be part of the exciting awards ceremony in January! FMEA also has a very special award that honors those reaching the mark of 50 years of service in music education.
The school enrollment awards and service awards are typically self-nominated and take only minutes to complete online. The deadline for the Music Education Service Award and Music Education Middle/High School Enrollment Award categories is October 31, 2024. Please check the FMEA website for details about the nomination process.
And now here’s a little of the brilliance that our awardees shared with us at last year’s FMEA Professional Development Conference.
James Harris, our 2024 FMEA Secondary Administrator of the Year and the principal of Alonso High School in Hillsborough County Public Schools, inspires through testimony of a vibrant music education community. ➤
2024 FMEA Secondary Administrator of the Year
James Harris
“I’d like to begin by thanking all responsible for my selection as the 2024 FMEA Secondary Administrator of the Year. I am both humbled and honored by this recognition. Although I’m being recognized for this award, I truly view this as an acknowledgement of the music education program we have at Alonso High School and how impactful our music program is to our students and community. Any successful high school program requires outstanding teachers leading their respective programs. At Alonso we are fortunate to have three of the best. The three music programs have a combined 619 students in their programs, which translates to over 20% of Alonso’s students experiencing our music programs daily. No other co-curricular reaches that many students in our school. That is 619 students that have an opportunity each day to learn about the power of expression through music and realize their creative potential. It is 619 students who gain an appreciation of the uniqueness and differences of their peers. And it is 619 students who now have a connection to our school beyond the traditional classroom.
As principal, supporting and cultivating our music programs are a priority, and will continue to be one as long as I am fortunate enough to lead this great school.
Admittingly, my appreciation for music has grown over my entire life. As a child, I played the violin for a few years, but that was more at the urging of my parents. If given the choice, I always seemed to choose a ball over a musical instrument. However, everything changed for me when I had my own children. Watching my own children enjoy the VHS tapes of Baby Einstein and its classical music began to open my eyes to the beauty of music and its impact. My own children would later play the cello and bassoon in school, not because they had to, but because they wanted to. Seeing my own children love their instruments, and the joy it brought to the family as we listened, furthered my appreciation.
But what cemented my belief in the absolute importance and appreciation of music was the impact I could see music had on my students. To see students willing to stay hours after school every day and to practice over the summer demonstrated how much these programs mean to our students. To see students’ genuine happiness after a concert or musical performance is one of the most impactful moments in my professional career. When you see this level of love, it is hard not to be an ardent supporter of music.
I have always believed the role of administration is to support the learning happening in our classrooms. There is no question, learning and much more is taking place in our music classrooms. As a result, it is my job to do all that I can to defend and expand the influence of music in my school. It is perhaps one of the easiest pledges I have ever made.”
Please take time to thank and support our 2024-2025 Academic Partners.
BRONZE PARTNERS
Florida Gulf Coast University
Partners as of September 9, 2024.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
Partners as of September 9, 2024.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
FLORIDA MUSIC EDUCATION
ASSOCIATION 2024-2025 DONORS
Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.
Our donors support specific causes by donating to the FMEA funds of their choice:
FMEA Scholarship Fund
Music Education Advocacy
General Fund June M. Hinckley Scholarship
Professional Development for Members
Mel & Sally Schiff Music Education Relief Fund
The following have graciously donated to FMEA from April 1, 2024, through September 9, 2024.
MAESTRO’S CIRCLE
$10,000 and up
No current donors at this time.
ARTIST’S CIRCLE
$1,000 – $9,999
Frank Howes
In Memory of Vashti Jordan Howes
Louis Schiff
SUSTAINERS
$100 – $999
Carlos Abril
In Honor of Dr. Alice-Ann Darrow
Lucinda Balistreri
In Honor of Sarasota County Music Educators
Trent Brown
In Honor of J. Mark Scott
Dale Choate
In Honor of R. Wayne Bailey
Alice-Ann Darrow
In Memory of Mr. & Mrs. O.B. Darrow
Virginia Dickert
In Memory of Debbie Liles & Lindsay Keller
William Fredrickson
Marsha Juday
Steve & Beth Kelly
Sheila King
Joseph Luechauer
Deborah Mar
In Memory of Barbara Kingman
Carolyn Minear
In Memory of Alice Fague
John Nista
In Memory of Stanley Dmitrenko
Douglas Phillips
In Memory of Dr. Bobby Adams
David Pletincks
In Honor of My Children
Clinton Randles
Jeanne Reynolds
In Honor of Pinellas County Performing Arts Teachers
Mary Catherine Salo
In Memory of Gary Rivenbark & Wes Rainer
Kathleen Sanz
In Memory of June M. Hinckley
J. Mark Scott
In Honor of Jason Locker, Dr. André Thomas, Dr. Judy Bowers, & Dr. Judy Arthur
D. Gregory Springer
SUSTAINERS
Harry Spyker
In Honor of Fred & Marlene Miller
Jeannine Stemmer
In Memory of Barbara Kingman & Lauren Alonso
Leiland Theriot
In Memory of Clayton Krehbiel
Rebecca Traenkner
On Behalf of the Hillsborough County Elementary Music Educators Council
Richard Uhler
Peter Waidelich
PATRONS
$25 – $99
Meghan Alfaro
Sasha Aufschneider
In Memory of Michael Aufschneider
Kasia Bugaj
Greg Carswell
William Castillo
Zachary Chowning
Dayna Cole
In Memory of Linda Mann
Debbie Fahmie
Bradley Franks
In Memory of Gary W. Rivenbark
Anna Marie Friars
In Honor of Dr. Clifford Madsen
Rebecca Hammac
Marsha Kindall-Smith
Craig Lilly
David Martinez-Cooley
FRIENDS
up to $24
Crystal Berner
Ernesta Chicklowski
On Behalf of Roosevelt Elementary Musicians
Jennifer Corzine
Christopher Dunn
Tina Gill
In Memory of Gary Rivenbark
Angela Hartvigsen
William Hazlett
Yangqian Hu
Howard Weinstein
In Memory of Barry Weinstein
Kenneth Williams
Anonymous (1)
In Memory of Claude Dobbins
Amelita McGrath
Katie McGuire Menges
Jessica Moore
In Honor of Dr. Nancy Barlar
Mark Morette
Edward Prasse
Marie Radloff
In Memory of Charles F. Ulrey
Rudolf Radocy
Sean Rees
Diana Rollo
Thomas Silliman
In Honor of Dr. Tom Silliman, Sr.
Eddie Steadman
Mark Stevens
In Honor of Dr. Clifford K. Madsen
Phil Tempkins
In Memory ofSue McCray
Ethan Hubbard
Jason Jerald
Kathleen Kerstetter
Lu Anne Leone
John Marshall
Matthew McCutchen
In Honor of Dr. John Carmichael
Anthony Moore
Ian Schwindt
Gary Smith
Valerie Terry
David Verdoni
Sondra Wenninger Collins
Lindsey Williams
Anonymous (5) In Honor of Columbia County Music Teachers
Andrea Szarowicz
Anonymous (11)
In Memory of Ernest O. Hebson
The mission of The Florida Music Education Association is to promote quality, comprehensive music education for all Florida students as a part of their complete education.
Mentorship
During the September meeting of the FMEA Board of Directors, President Locker asked board members to speak about one of their mentors. Most of the participating members mentioned more than one person who had mentored them personally and professionally throughout their lives. These mentors provided support, guidance, and advice to help these educators become successful in their career paths. It is critically important for new career teachers and continuing teachers to identify mentors to help them navigate the landscape of our profession.
I was fortunate to have my family serve as mentors to meet my initial support needs. As I progressed through my life, Dr. Virginia Bridges and Dr. James Croft at the University of South Florida, as well as Dr. Gretchen Beall at the University of Colorado were key mentors for me during my college career. As I pursued my career as a music educator, they continued to provide guidance, advice, and support. As I pursued my career in the school district, June M. Hinckley played a critical role in supporting me, providing advice and guiding me to new career opportunities. I have many colleagues and friends who continue to provide guidance and advice to me as I advance my career, including Jeanne Reynolds, Dr. Alice-Ann Darrow, Dr. Kenneth Williams, and Dr. Steve Kelly. It is important to engage and seek out mentors to help us manage our careers and lives. Therefore, I encourage you as a music educator to seek out mentors who are available and willing to actively listen and assist you in your journey. Mentors and mentees reach out to each other for support to increase the opportunity for success for Florida teachers and their students.
FMEA Executive Director
Kathleen D. Sanz, PhD
2025 FMEA Professional Learning Conference
Music
Education Begins with ME
Preregistration is open for the 2025 FMEA Professional Learning Conference at FMEA.org/conference/. Be sure to watch the FMEA website to take full advantage of this excellent conference to be held in Tampa, January 8-11, 2025. FMEA leadership and staff are looking forward to seeing everyone there. Please note that the deadline for early registration is December 16, 2024, at midnight. The FMEA hotel block opened on September 28, 2024. The room block fills up quickly, but then there is a release of rooms during the booking period, so remember to check back weekly. Please note that the deadline to cancel an unneeded hotel room is November 9, 2024, at 5 pm, when your credit card will be charged for the first night. See more information in this magazine.
Teacher Satisfaction Survey
The National Federation of High Schools is conducting a teacher satisfaction survey that closes on October 14, 2024. Please complete the survey as the responses assist FMEA in working to meet the needs of Florida teachers through the Teach Music, Florida Coalition. You can access the survey here
Careers in Music Education and Creative Industries
The National Association of Music Merchants (NAMM) and the National Federation of High Schools (NFHS) have developed a resource that is an interactive way for students to look at careers in music education and creative industries titled “Why go into the music profession?” It can be viewed here.
Have a wonderful school year, and stay in tune with FMEA and the many opportunities we offer you in this rewarding profession. Don’t forget to seek out a mentor to help you on your career path.
Musically, Kathleen D. Sanz, PhD
FLORIDA MUSIC EDUCATION ASSOCIATION
Officers and Directors
EXECUTIVE
BOARD
President Jason P. Locker
Orange County Public Schools
445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org
Past President
Shelby R. Chipman, PhD
Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu
President-Elect
Harry “Skip” Pardee Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com
FBA President Jeff Cayer, EdD president@fba.flmusiced.org
FCMEA President Sandra Sanchez Adorno, PhD
Florida International University 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu
FEMEA President Ashley Peek
Holley-Navarre Intermediate 1936 Navarre School Rd.; Navarre, FL 32566-7504 ashley@femea.flmusiced.org
Florida NAfME Collegiate President Megan Robichaud University of North Florida n01492523@unf.edu
Florida NAfME Collegiate Advisor
Mark A. Belfast, Jr., PhD Florida State University mbelfast@fsu.edu
FMSA President Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@ osceolaschools.net
FOA President Laurie Bitters
Winter Park High School
2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
School of Music, KMU 330; Tallahassee, FL 32306 (850) 644-4069; skelly@fsu.edu
EX-OFFICIO MEMBERS
Historian/Parliamentarian &
Executive Director ................................................. Kathleen D. Sanz, PhD
Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org
Editor-in-Chief Kelly Miller, DMA
University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009 (407) 823-4545; kelly.miller@ucf.edu
Conference Planning Committee Chairperson John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com
FSMA President Benny L. Bolden, Jr., EdD laruemusic99@gmail.com
Hall of Fame Chairperson Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com
FMEA COMMITTEE CHAIRPERSONS
Advocacy Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com
Awards Sondra A. W. Collins sondra.collins@marion.k12.fl.us
Budget/Finance, Development
Jason P. Locker
Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org
Contemporary Media
Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu
Diverse Learners
Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu
Emerging Leaders Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com
Florida Corporate & Academic Partners
Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com
Health & Wellness
Aaron Kass Lake Nona High School; 12500 Narcoossee Rd.; Orlando, FL 32832-6922 (407) 956-8327; aaron.kass@ocps.net
Multicultural Network
Arnekua Jackson, PhD Boynton Beach Community High School; 4975 Park Ridge Blvd.; Boynton Beach, FL 33426-8318 (561) 713-6851; arnekua.jackson@palmbeachschools.org
Professional Learning ...........................................................Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org
Research
William I. Bauer, PhD University of Florida; (352) 273-3182; wbauer@ufl.edu
Secondary General Music
Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Student Engagement
Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
PROFESSIONAL DEVELOPMENT CONFERENCE
Exhibits Manager fmeaexhibits@fmea.org
Local Chairperson Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us
FLORIDA BANDMASTERS ASSOCIATION
President Jeff Cayer, EdD president@fba.flmusiced.org
Past President Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net
Executive Director .................................................................. Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org Business Manager Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
President Sandra Sanchez Adorno, PhD Florida International University; 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu
Past President Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu
FLORIDA NAFME COLLEGIATE
President Megan Robichaud University of North Florida; n01492523@unf.edu
Past President ................................................................. Colin Urbina University of Central Florida; co006947@ucf.edu
