Lessons From the Past: Learning From Historical Instances of Distance Music Learning

LESSONS FROM THE PAST:

Learning From Historical Instances of Distance Music Learning

by David Ramos

The rapidly evolving nature of technology demands a constant awareness and revision of current practice to realize technology’s potential as a learning and teaching resource. Instructional technology should be thoughtfully conceived, creatively employed, and carefully adapted to the particular styles of both teach-

er and learner. (Moore, 1989, p. 116)

TThese words were first printed in Eunice Boardman’s book Dimensions of Musical Thinking, published in 1989 by the Music Educators National Conference, now the National Association for Music Education (NAfME). In the year 2021, they could not be more relevant.

Teaching Music During COVID-19

In today’s reality of education, the use of technology in the music classroom has become inevitable. The continuing crisis of the COVID-19 pandemic has cemented the need for online platforms such as Zoom, Microsoft Teams, and Google Classrooms for large ensemble and private instruction. Stands and sheet music have been substituted by laptops and USB microphones, and inperson dialogue between teachers and students has been replaced by online chat rooms and surveys. As schools across the state are slowly returning to faceto-face instruction, many are still utilizing distance learning practices for the health and safety of students, faculty, and staff. Although the phenomenon of distance music learning through technology shocked many educators in 2020, the practice has been around for quite some time. From the advent of the radio to the introduction of the Internet, technology has rapidly evolved in American society, and with each new advancement, educators have latched on to their potential to broaden the music classroom. This article outlines historical instances of distance music learning through technologies such as the radio and television, provides the reader with lessons learned from those pursuits, and draws comparisons to today’s distance learning practices.

Learning Through Radio

Since its first broadcasts in the early 20th century, the radio has been a long-standing friend of music in American society, providing a prime medium for this aural art (Sanders, 1990). As it gained popularity in the 1920s, the radio was quickly noted by teachers as an effective means to disseminate not just music, but also information to urban and rural areas. Music educators and organizations were quick to seize the opportunity of using the airwaves to provide educational programming to every home that had a radio. One of the most notable and successful radio programs was distributed by music educator Dr. Joseph Maddy.

Dr. Joseph Maddy’s Radio Music Lessons

Founder of Interlochen Center for the Arts and coauthor of The Universal Teacher and Instrumental Class Teaching, Joseph Maddy was a pioneer in teaching performance skills by radio. He acknowledged that “… radio is destined to become the great equalizer of educational opportunity” (as cited in Sanders, 1990, p. 41) and quickly seized its potential. Maddy pitched his idea of teaching band instruments over the radio to Waldo Abbot, director of broadcasting at the University of Michigan, in 1931. After gaining support from school superintendents in the area, the university allowed him five half-hour periods to broadcast his lessons over the airwaves (Sanders, 1990).

Maddy went to work organizing the series. He prepared lesson booklets to provide students with pictures and directions on how to properly hold their instruments and produce a sound on them. Maddy also coordinated a studio band comprising 12 university players, which acted as an aural model for the radio Continued on page 20

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students during each lesson. From their homes, students learned the sound of each instrument, fingerings for their specific instrument, and strategies regarding how to match the tone of what they heard through the radio.

During the first year of broadcasting, interest in the radio lessons surged as Maddy received many requests for instruction books nationwide. The programs were an immediate success (Sanders, 1990). By 1936, NBC recognized the program’s popularity and decided to broadcast it on its airwaves for the next three seasons, changing the name of the series to NBC Band Instrument Lessons the first year, and then Fun in Music the next year. Maddy continued to provide radio instruction for most of the decade and expanded his weekly lesson series to include string and vocal lessons.

Pros and Cons

The greatest achievement of these lessons was that they were able to reach national and international audiences. Listeners tuned in from 47 states, the District of Columbia, six Canadian provinces, England, and Syria (Sanders, 1990). School districts that lacked the funds for music programs were grateful for the radio music series, which helped provide music education to certain towns and rural areas. These programs also made music fun for students. After the series was picked up by NBC, Maddy realized students cared little for serious music instruction (i.e., practicing scales and exercises) and simply wanted to play their favorite tunes. By embracing this idea, Maddy ensured the learning process was fun, which created an impetus for students to tune in every week and learn how to play their instruments well (Sanders, 1990).

Of course, the general, far-reaching approach of the program created its own problems regarding instruction and overall content. Considering the programs addressed a variety of students, giving specific details during instruction proved impossible. According to Maddy,

… it was not possible to dwell long upon breathing, bowing, touch, or any of the technical phases of particular instruments. “Playing in tune” had no meaning to piano pupils, while “bowing” had no meaning to band instrument pupils, and “breathing” was no concern of pianists or string players. (Sanders, 1990, p. 199)

There also existed philosophical differences between Maddy and NBC, which at the time was funding and broadcasting the program. Although Maddy placed his priorities on education, the network placed its focus on entertainment, believing a program that appealed to a minority of listeners would “reduce the audience for commercially-sponsored programs that followed it” (Sanders, 1990, p. 200).

Comparisons to Teaching Today

It is true that the medium through which Maddy delivered his music lessons is quite outdated when compared to the technology used to teach music today. Current students require more than a radio to stimulate their desire to learn music. That is why teachers will often incorporate videos, PowerPoints, and pop culture references into their lessons to keep students engaged. What teachers can take away from Maddy’s radio lessons, however, is they were nothing short of a success at that time. These far-reaching broadcasts filled a need in school districts, whose administrations simply did not have the funding to provide their students with music education themselves. Moreover, these lessons were fun while informing students how to hold their instruments, tune them, and use them to play their favorite songs. Virtual music teaching may not be sustainable, but like the Maddy broadcasts, it fills a need in schools by providing students with music as best it can. Just like the 1930s music lessons, teachers sought new ways to reach students and give them a quality music education. Maddy found a solution via radio music lessons. Current teachers can find similar successes through more current forms of technology. If Maddy can do it, so can you.

Learning Through Television

The introduction of the television into American society was a remarkable phenomenon. In 1948, NBC broadcast the first televised classical music concert, paving the way for yet another popular outlet for music (Macinnis, 2009). By the 1950s and 60s, television became a staple in nearly every modern American home, providing families across the nation with picture news broadcasts and daily entertainment. Television networks also provided their younger audience with educational programing. Children’s shows such as Mister Rogers’ Neighborhood (1968) and Sesame Street (1969) were known for using fun characters and imaginative circumstances to teach kids how to read, count, and express their emotions. In 1958, a weekly program, also geared toward young people, began to air, teaching viewers lessons in music appreciation. Although it did not star a man in a cardigan sweater or an ensemble of colorful puppets, it did feature the New York Philharmonic (NYP) and a charismatic conductor.

Young People’s Concerts With Leonard Bernstein

Leonard Bernstein is considered one of the most influential American musicians of the 20th century, recognized for his work as a professional conductor, composer, pianist, and music educator. Bernstein often lectured and wrote on the topics of music appreciation, awareness, and listening. He also created recordings of score analysis and wrote on topics such as The Essence of Music (Rozen, 1997). He is also known for his work in television, providing children growing up with a television in their homes with “significant musical pedagogy” (Macinnis, 2009, p. 15). In 1954, he began his television career by appearing on CBS’s educational series Omnibus, delivering a music appreciation lesson on Beethoven’s Fifth Symphony. He appeared in 10 Omnibus recordings, all well regarded by television viewers and the press (Rozen, 1997). These appearances segued into his involvement with what he considered to be one of his greatest professional achievements as a music educator.

Although popularized by Bernstein, the New York Philharmonic’s Young People’s Concerts (YPCs) started as early as the 1880s, when the NYP started programming concerts specifically targeting children (Macinnis, 2009). Under Ernest Schelling in 1926, the YPCs were established as a regular NYP concert series,

… designed to promote music appreciation in children through the combination of informative lectures, live orchestra performances, pictures displayed through lantern slides, and notebook assignments which children could create and submit to Schelling for prizes. (Macinnis, 2009, p. 6)

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Photo: leonardbernstein.com

With his photogenic personality, growing popularity, and exceptional knack for teaching, Leonard Bernstein met the moment to lead the concert series toward the next logical step. Under his direction, the NYP struck a deal with CBS to televise the YPCs during its 1958-59 series (Macinnis, 2009).

The televised Young People’s Concerts with Leonard Bernstein followed a similar format from week to week. During each program, Bernstein greeted the audience—those watching in person at Carnegie Hall and those watching from home. Then, with the help of the NYP, he presented them with a musical example, followed by the initial question, theme, or topic for that concert (e.g., What Does Music Mean?, Folk Music in the Concert Hall, What Makes Music Symphonic?). This led to an answer or explanation from Bernstein, as well as a dissection of various musical examples to illustrate his points. These concerts, which ran until 1972, were met with national acclaim, winning every award given in the educational television category and earning Bernstein the title “America’s Music Teacher” (Rozen, 1997, p. 10).

Pros and Cons

Young People’s Concerts with Leonard Bernstein had a lasting impact on nearly anyone who followed the program. According to Macinnis (2009), “an entire generation of musicians and music scholars credit the YPCs as a major influence in their decision to pursue music as a career” (p. 66). Not only did the programs inspire viewers to seriously consider careers in music, but they also exposed viewers to what was deemed serious music. These concerts featured masterworks such as Mussorgsky’s Pictures at an Exhibition, Haydn’s Symphony No. 102, and Ravel’s Bolero, to name a few. It is possible the YPCs had a hand in molding the fundamental attitudes toward good music held by those who grew up with television (Macinnis, 2009).

With all credit due, the Young People’s Concerts were not exempt from one main flaw—a general lack of classroom management. The difficult part about hosting weekly concerts in Carnegie Hall with hundreds of children as the audience is getting them to behave during the entire concert. Bernstein’s daughter Jamie addressed how viewers at home watching the televised concerts were unable to see the many paper airplanes children would send sailing through the concert hall, a nuisance that concertgoers still experience today (Macinnis, 2009). One may wonder if this behavior would have occurred had Bernstein hired a handful of music teachers to roam the rows of seats, observing students and confiscating their programs if necessary.

Comparisons to Teaching Today

These concerts provided music teachers with pedagogical content that would benefit classrooms—both physical and virtual—today. First, Bernstein’s approach to most every concert was Socratic. He began the lesson with a question (e.g., What is Impressionism?) to engage his audience, providing them a sort of mystery that, by the end of the concert, he and his audience would solve (Macinnis,

2009). Engagement in distance learning is key, and one of the best ways to ensure students are paying attention or thinking about the information you teach is by asking questions frequently. Starting a lesson with a question prepares the students, letting them know the direction of the lesson and what they should be pondering along the way.

Additionally, Bernstein’s approach to teaching was characterized as “middlebrow.” The lessons were not so “hifalutin” that only the educated minority could understand them, nor were they so elementary that anyone could turn on the television and tune in without a second thought. Bernstein loved sharing with young people, as he considered them to be curious, enthusiastic, and unprejudiced (Macinnis, 2009). Although his audience was mainly composed of children, Bernstein taught “in a style designed to confront the middlebrow on his own level, without stooping, and to escort him gently along the path of least resistance, to increased understanding” (Macinnis, 2009, p. 48). This approach should be sought after by every educator, especially in a distance learning setting. Teachers should remind themselves that most of their students want to learn even if it is online. They should confront their students with lessons that combine elements of music that are advanced yet easy to comprehend, guiding their students, without stooping too low, until they understand the material.

Closing Thoughts

Returning to the original quote, technology is constantly and rapidly evolving, which is a marvelous thing for today’s teachers. In 2021, computers, tablets, and smartphones have the capability to house hundreds of students virtually under one digital roof to learn a single topic. Music educators can teach aural skills, music theory, and how to play a B-flat major scale from the comfort of their own home, a luxury Dr. Maddy did not have in the 1930s. Teachers should find solace in the fact that with the help of modern-day technology, they are much more capable of providing students with quality distance music learning than educators were 50, 30, or even 10 years ago. What they often forget, however, is their own capability to do just that.

The stories of Joseph Maddy and Leonard Bernstein not only provide a historical perspective on distance music learning. They also encourage readers who struggle with the thought that every weekday, instead of sitting in a classroom full of students, they will be sitting in an office facing their computer screens. Distance teaching is not easy. Even with new technological advancements, today’s teachers still combat the same issues their 20th century counterparts faced decades ago. Although it is not ideal, distance music teaching is possible. Music educators are capable of reaching and teaching students across vast distances, and have been for quite some time.

References

Macinnis, J. C. (2009). Leonard Bernstein’s and

Roger Englander’s educational mission: Music appreciation and the 1961-62 season of young people’s concerts (Publication No. 1470827) [Master’s thesis, Florida State University].

ProQuest Dissertations and Theses Global. Moore, B. (1989). Musical thinking and technology. In E. Boardman (Ed.), Dimensions of musical thinking (pp. 111-116). Music

Educators National Conference. Rozen, B. D. (1997). The contributions of Leonard

Bernstein to music education: An analysis of his 53 Young People’s Concerts (Publication No. 9814028) [Doctoral dissertation, Eastman

School of Music]. ProQuest Dissertations and Theses Global. Sanders, C. A. (1990). A history of radio in music education in the United States, with emphasis on the activities of music education and on certain radio music series designed for elementary and secondary school use (Publication No. 9108672) [Dissertation, University of Cincinnati].

ProQuest Dissertations and Theses Global.

David Ramos is a graduate of Florida State University with the BME in instrumental music education. He is an active member of the National Association for Music Education and Florida Music Education Association. David is the director of bands at Bradford High School in Starke, Florida.

ComponentNews

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION Marc Decker, DMA, President

Ihope you are finding success in the first few weeks of the school year! September is easily the most important month of the year for teachers. It’s when we establish a strong foundation in music and classroom procedures while sharing with the students a musical vision of the year to come. This is the time to infuse our classrooms with positivity and excitement. I hope you are enjoying it.

Today I find myself reflecting on all that has changed in the last year. Many of

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION Joani Slawson, President

As we settle into this new school year, I hope everyone is finding joy in the music-making process with your students. The FEMEA Board of Directors has been hard at work meeting the needs of elementary music teachers in Florida. First of all, we are excited about the creation of the Culturally Responsive Committee, which is chaired by Ernesta Chicklowski. We look forward to the important work this committee will be doing for teachers and students.

We will be hosting the following webinars: « September 29: Grant Writing for Music Teachers presented by Ashleigh Lore « October 25: Expanding Outreach to Those We Teach – Culturally Responsive « Teaching Committee November 15: Elementary Music Advocacy – It’s Personal –

FEMEA Advocacy Team

Even though we are all music teachers, our needs may differ depending on our individual circumstances. We have created the following positions to reach out to private school and early career teachers. If you have questions or concerns in these areas, please reach out to the following people: « PRIVATE SCHOOL TEACHERS REPRESENTATIVE « Katy Pelletier: PrivateSchoolsRep@femea.flmusiced.org EARLY CAREER REPRESENTATIVE

Madison Schafer: EarlyCareerRep@femea.flmusiced.org

Thank you for your time and effort preparing and submitting all-state auditions. I truly appreciate all you do for the students of Florida. I would also like to thank the all-state coordinators, district chairpersons, and our executive director, Jenn Sullivan, for their tireless efforts answering questions, processing paperwork, preparing materials, and ensuring a wonderful musical event.

Finally, there is no time like the present to begin planning your conference experience. Please speak with your administrators about attending the FMEA Professional Development Conference January 12-15, 2022. Be sure to educate them about all the amazing professional development opportunities available to you at the conference. As always, please feel free to reach out to your FEMEA board if you have any questions or concerns. our innovations and adaptations caused by the pandemic will not linger. But some will persist long into the future. We are all different teachers today than we were two years ago, approaching pedagogical and administrative tasks in innovative ways. As our profession continues to adapt and evolve, here are two changes that are worth keeping.

Comfort Level With Technology

Two years ago, I never would have thought that hosting a virtual meeting with students would be beneficial. Surely an email would suffice for sending them the information they need, and when the year began we would finally meet for the first time. But now I host many virtual events throughout the year. The reason is that students need more than information … they need connection! Social media and virtual gathering platforms provide tools to connect. Meeting in person will always be the most efficient and meaningful method of connecting, but new and emerging technology and social media platforms are remarkable and diverse ways to enhance this.

Although technology has changed the way we connect, it has also changed the way we teach. Teachers have learned how to record and edit music, perform virtual concerts, and fully utilize online educational programs. We’ve adapted and created exciting new methods for student learning and assessment that we would not have considered before. Much of the educational content we have created as a profession will remain. For example, I intend to keep my assignments and assessments fully virtual. Whatever we choose to keep as a profession will improve student learning outcomes, make our ensembles stronger, and instill in our students a greater love of music.

Perspective

Of all the things that have changed, perspective is the most significant. Music education is not a profession for those who aren’t willing to go above and beyond. We want to see our students grow and learn throughout the year, sharing our love of music with them. Although all the music teachers I know continue to be passionate, priorities have shifted. Family, friends, and worship are more important than ever. Let’s all maintain our love for music and teaching while remembering to occasionally turn off our smartphones on the weekends and at night.

Perspective on teaching and student learning has changed as well. I’ve noticed that students tend to arrive much earlier to rehearsals and linger afterward. Typically they want to talk because they miss each other. But I’ve also seen them on many occasions get together to jam on their instruments without any prompting. They have changed, and so have we. I teach differently, with more empathy and awareness of the students’ mental health, and am more confident in pointing students in the right direction to get the assistance they need. Everyone’s perspective has changed, and it’s for the better.

I wish you all the best this year as you implement what we’ve learned and look forward to how the profession will evolve next.

Stay safe and teach well!

FLORIDA NAfME COLLEGIATE Alexis Hobbs, President

TIPS FOR SUCCESS: Recruitment and Retention

The Florida NAfME Collegiate component would like to provide our members with ideas as we enter this rebuilding season.

RECRUITMENT 1. Outreaches

«Plan chapter social and educational activities. People enjoy groups that are friendly and fun! This can include having guest speakers at your chapter « meetings or having a pizza party at a local park for your chapter. Before the fall semester, send information to all music organizations, « fraternities, and sororities to build unity among all. Assign “chapter buddies” between upper/under students so every student has at least one person they have connected with.

Recruitment through outreaches takes more than one event! Chapters should strive to make events and meetings consistent for members and future members.

2. Inform and publicize

«Social media can be a great avenue for your chapter to recruit new members. Platforms such as Facebook, Instagram, and more can help « « « spread the news about NAfME Collegiate at your university. Use your college of music bulletin board. Set up an NAfME registration table. Ask music faculty to advocate for collegiate membership. Every professor wants to see their students succeed. Reach out to your professors to help advocate for your NAfME Collegiate chapter, which will in turn help their « students succeed. Have older students tell why they joined and why they support NAfME « Collegiate. Invite non-music majors. NAfME Collegiate is not just for music education majors; reach out to all majors.

RETENTION

To retain chapter members there are two main actions chapters can take: be proactive and make personal connections with future members. « Follow up with former members who have not returned. « Start committees to get chapter members involved. Committees such as fundraising, advocacy, and community service are a few ways to grow participation « and retention. Create a mission statement. Creating a mission statement can help focus your chapter’s goals and events for each year.

In the words of Walt Disney, “Do what you do so well that they will want to see it again and bring their friends!”

As always, if you or your chapter has any questions or concerns, please contact us at flnafmecollegiate@gmail.com or visit our website, flnafmecollegiate.com.

ComponentNews

FLORIDA ORCHESTRA ASSOCIATION Laurie Bitters, President

The 2021-22 school year has finally arrived! In the midst of fine-tuning your beginning-of-the-year agenda, much planning has already taken place with your FOA Executive Board during our district chairperson training. I would like to welcome our new district chairpersons:

District 1................................Meanna Naffe District 6......................... Shawna Batchelor District 9.................................Steven Harris District 11...............................Daniel Shafer District 13..............................David Heroux District 15.................................Tosha Knibb District 17................................. Mara Eichin

Thank you to all of our district chairpersons for setting the stage for a successful year for your districts! Remember that your district chairperson is there to support you with any FOA questions or suggestions you may have throughout the year.

The all-state audition window is quickly approaching, September 27October 2. Please check your district calendar for your audition date and volunteer to assist with this event. Volunteers are also needed to help with all-state judging on October 23 at the Hilton Orlando. Please contact your district chairperson if you are interested. FOA would like to thank Brian Hellhake and all those who will assist with this process.

As you make your plans for the year ahead, you don’t want to miss the FOA/ FLASTA Fall Conference or the FMEA Professional Development Conference. Hotel registration for the FMEA conference begins September 25 at 9 am. When registering, reserve only the rooms needed for your students. Please remember to release any rooms you don’t need so others can reserve them. The hotel room cancellation deadline is November 13 at 5 pm.

Our 2021 Fall Conference will take place September 23-24 at the Hilton Orlando. Registration is now open and available on our FOA website (myfoa. org). We are excited to have Soon Hee Newbold and Brenda Brenner as our keynote speakers. Be sure to view the full schedule on the FOA website for additional information about our exciting sessions. The conference is a great way to reconnect with colleagues and friends, to meet other educators, and to gain ideas for your classroom. We also have some amazing vendors attending. Don’t forget to bring your instrument and music stand for the music reading session to assist you with your music selections for the year. There is sure to be something for everyone. We look forward to seeing you there!

Please stay involved in your district and do not hesitate to share your suggestions or ask for assistance. Your FOA is here to help. While we navigate the challenges and changes that will happen, remember to take care of yourself and your family. I wish you all the best in this new school year!

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer, President

If you read my last article, you know I didn’t join choir until the eighth grade, which means seventh grade was a rough year. I remember two of my friends were dating the same boy. Instead of fighting with him, they turned on each other. I wasn’t involved in the fight, but I sure did have a front seat. Eventually one of the girls threw the ring the boy had given her at the other girl, which I swiftly picked up and stuck in my pocket. Ha ha. Don’t worry, I didn’t keep it. Ultimately I gave it back. I just can’t remember which girl I gave it to.

Fighting is not always a bad thing. I am proud when I stand up for my program. I am proud when I stand up for my kids. I’ve decided that fighting for funding, fighting for facilities, and fighting for a spot on the calendar is how you earn your stripes as a music teacher. The real problem is having to fight to get kids in your class.

The bigger picture is that ALL students need music, and to fulfill our mission we need students. Start by advocating for the underprivileged and exceptional students. I challenge our membership to think outside the box. Make your fight count and remember you are not alone. We’ve got you!

To that end, the Florida Vocal Association has a new challenge: implement rather than change. I am proud of our team. As a team, we are finding new ways to fight together. Our Strategic Planning Committee inspired us to write a choral initiative letter we can share with administrators all over the state. Every student needs the chance to have a comprehensive secondary music education experience.

FLORIDA NAfME COLLEGIATE Mark A. Belfast, Jr., PhD, Advisor

What should music education look like today?

by John A. Lychner, PhD

FLORIDA MUSIC SUPERVISION ASSOCIATION Lindsey R. Williams, President

Wasn’t life supposed to be “normal” again by now?! It is a question we all are asking; however, maybe the better question is this: Are we really happy with the “normal” we knew prepandemic? The answer is likely to vary from person to person, and I believe sincerely that whatever answer anyone gives is appropriate as long as it is a carefully considered answer and not just a kneejerk reaction. As I tell my students, I don’t care what you think; I care that you think! It is the act of thinking that is important, being open to considering, analyzing, and trying out new information and ideas. Our minds can serve us well if we are thinkers and not reactors or, worse, closed to new ideas. So, think for a moment about what “normal” means and what you like and dislike about it.

In the middle of the 1900s, people made decisions about education that have become our “normal,” and since then there has been very little, if any, true innovation. We have simply grown and perfected what was chosen then. For example, in general terms, age-appropriate curricula were designed for a K-12 scaffold. In music, the performance-based large-ensemble approach to teaching music was adopted and became the primary curricular way to teach music. It is interesting that in physical education, a more generalized approach to healthy activity was the choice for the curricular offering with large-group sports activities provided as extracurricular offerings. I’m not suggesting that one is right and the other wrong, but rather, given that both approaches developed at the same time, it is interesting and even a little odd that they don’t look the same in schools. No judgment here, just something to think about!

So, with those examples to start us thinking about what we accepted as “normal” and realizing that some of those choices are approximately 70 years old, I ask an honest question. What should music education look like today?

Many of you are working on philosophy of music education statements in your classes. Do the ideals of your philosophy reflect only what you have known/experienced? Are they broader? Narrower? Do they reflect current times or the 1960s? … 70s? … 80s? Again, this is not about judging but rather about thinking.

As we are getting into the heart of the semester, with challenging reading and writing assignments and the excitement of field experiences, I encourage all of us to think about the reason for each assignment or experience. Think also about the relationship of the preparatory work we are doing to what is happening in the schools. Finally, think about what music education can and/or should be in our world today. In short, let’s find meaning in every aspect of our work and develop our vision for the future! Let’s make sure we are preparing for a “normal” that we choose rather than a “normal” that chooses us!

Dr. John A. Lychner

is director of music education in the School of Music at Stetson University and is an active clinician/conductor. Previously, Dr. Lychner was professor of music in the School of Music at Western Michigan University, Kalamazoo. Dr. Lychner taught band, choir, and general music in St. Louis, Missouri, and Tallahassee, Florida.

FOR MUSIC TEACHERS

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

What Are Randomized Controlled Trials (RCTs)?

Why Do We Need Them in Music Education?

by Jennifer A. Bugos, University of South Florida

The news is full of reports of randomized controlled trials (RCTs) for medical treatments, especially for COVID-19 vaccines. RCTs are an approach to research that helps to make sure the results obtained in a research study reflect what will happen when a treatment is applied to a new group of people on a large scale. RCTs, the “gold standard” for educational and social policy research, enable researchers to answer a question definitively and unambiguously. RCTs with a sufficient sample size can solve the problem of causation by including a true randomized sample with one or more control groups (Styles & Torgerson, 2018). Through randomization, the conclusion of the study can be shielded from confounding variables related to how the study was conducted so the results reflect only the impact of the music program or teaching method. Randomization ensures baseline characteristics are similar across groups. RCTs in an educational setting contain ecological validity and produce information that can be used to evaluate whether a music program or approach should be introduced in the classroom and under which contexts or for which students it might be most effective. Wouldn’t that be great for music education research? What problems do RCTs solve, and how do they solve them?

To know if an education practice is good or improved, one must ask, “Good or improved compared to what?” In a research study, we compare the results obtained with one group of learners with the new program (the experimental group) to the results obtained with an alternative or traditional program with another group of learners (the control group). If the difference between the performance of the two groups is greater than the variation in the performance of individuals within a group, we say there is a significant effect of the experimental treatment. If this method or approach worked for the researcher, will it work in my classroom, too? That is, will the experience with the research population generalize to the population of students I teach?

Maybe. Other differences between the experimental and control groups, besides the different programs, can also cause differences in performance between the two groups. Different settings (e.g., in school or after-school programs, time of year), Hawthorne effects (i.e., differing levels of motivation), attrition, and contextual factors (e.g., differences in socioeconomic status) can influence research findings (Sullivan, 2011). A first step to making sure research results are caused by the program under study is to consider all variables that could influence performance outcomes and to match the research participants in the experimental and control groups by those factors. For example, controlling for previous musical experience, music aptitude, socioeconomic status, intelligence, and age are common factors researchers use as criteria for enrollment or for matched samples.

Through conducting controlled experiments, we gain experience, refine our methods and research questions, and gain new insights. Engaged early adopters can bring such results into their classrooms with a reasonable expectation of success. In order for research findings to be deployed widely across districts and states, legislatures, boards, and administrators demand substantial proof that expenditures of tax dollars will bring proportionate benefits. This is where RCTs really shine. Carefully designed RCTs can provide data essential to understanding how music programs contribute to student achievement and can help us understand how well a particular program works in specific contexts or for various subgroups. RCTs offer the opportunity to develop a cumulative body of knowledge structured around evidence-based findings for music programs and music teaching practices (Connolly et al., 2017).

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

Randomized controlled trials come in many forms in education. Assignment can take place at the individual level or at the school or class level, also referred to as a cluster RCT. For some RCTs, whether single or clustered, factor designs are relevant to measure the effects of variables and the interaction with each other. For instance, one may want to examine the effects of an intensive after-school music program on sight-reading skills as compared to other types of programs. Intensity may serve as an additional factor for consideration. Evidence-based teaching practices evaluated through RCTs can strengthen music programs and enhance student achievement. To learn more about RCTs in education, please see Connolly et al., 2018 for a systematic review; for a list of current RCTs, visit clinicaltrials.gov.

Jennifer A. Bugos, PhD, has taught at the University of South Florida since 2011. She is an associate professor of music education and teaches undergraduate courses in general music methods, internship, and senior seminar, as well as graduate coursework in music cognition. In addition, she serves as the music education internship coordinator.

References

Connolly, P., Biggart, A., Miller, S., O’Hare, L., & Thurston, A. (2017).

Using randomized controlled trials in education. Los Angeles, CA:

Sage Publishing. Connolly, P., Keenan, C., Urbanska, K. (2018). The trials of evidencebased practice in education: A systematic review of randomized controlled trials in education research 1980-2016. Education Research, 60 (3), 276-291. https://doi.org/10.1080/00131881.2018.1493353 Sullivan, G. (2011). Getting off the “gold standard”: Randomized controlled trials and educational research. Graduate Medical

Education, 285-289. https://doi.org/10.4300/JGME-D-11-00147.1 Styles, B., & Torgerson, C. (2018). Randomized controlled trials (RCTs) in education research–methodological debates, questions, challenges. Educational Research, 60 (3), 255-264. https://doi.org/ 10.1080/00131881.2018.1500194

Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.

NAfME COVID-19

RESOURCES

NAfME and our partners are committed to supporting our music educators with resources for virtual instruction, professional development, and critical information during this pandemic. Resources include webinars, articles, guidance, links, and more.

Click to learn how NAfME is working to protect music programs and provide guidance

for going back to school this fall: « International Coalition Performing Arts

Aerosol Study updated guidelines for « music education classrooms (7-19-21) Plan your return to the physical classroom

«Research study on the effects of

COVID-19 on the return to the rehearsal hall

«Guidance for teaching general music « during COVID-19 Guidance for teaching early childhood « music during COVID-19 Guidance for singing in our schools during COVID-19

CLICK HERE for additional resources available.

Thank you for supporting each other and our students during these challenging times. Please contact your professional association for assistance and information at memberservices@nafme.org or 800-336-3768.

CommitteeReports

AWARDS COMMITTEE Sondra A. W. Collins Chairwoman

In my first article as awards chairwoman (see the August edition), I offered the wonderful Amanda Gorman quote about being brave enough to see and be the light. Congratulations, colleagues, on already being the light in this new school year! As school has started and we have started to rebuild and reinvent our music programs in all education settings, we already have so much light. Whether you realize it or not, you have already seen the light. And whether you realize it or not, you have already been the light.

I will be the very first to admit to you all that after the past year and a half of music education during a pandemic, I was having a hard time seeing and being the light. As I stood in the courtyard of my school, smiling through my optional mask and welcoming back students (and for the first time in a year and a half, parents) on our campus, I found myself feeling a large array of emotions and questioning exactly how much of a difference I make (or light I really am to my students, if you will). And then they started to come—those middle and high school former students who were there with their younger siblings and just “had to come see me” and tell me how much they wished they were back in my music room. And all the current elementary students who were beaming to be back “home” at our school to start creating music with me again this new school year, even if things are still a little different. And even parents who were cheering to be allowed back on campus and so happy to come find the “music teacher” to tell me just how much music means to their child.

Friends, allow me (and Ms. Gorman) to be clear. There is ALWAYS light.

Your FMEA Awards Committee desperately wants to recognize the heroes among us who have been “the light” this past year. Let’s all shine a light on those who have demonstrated visionary thinking, resiliency, positivity, innovation, and a collaborative spirit. We want to hold up and empower those who persevered through a constantly changing year of music education and continued to turn on “the light” for their students and others. Your FMEA Awards Program offers several awards in recognition of the efforts and accomplishments of music educators (elementary, secondary, and collegiate), school administrators (elementary and secondary), superintendents, school board members, school boards, business partners, music education leaders, music advocates, music programs, and music projects that have made outstanding contributions to music education. Please check over the award categories and consider nominating anyone in your sphere who has embraced opportunity in a changed world.

FMEA Awards Categories

Leadership Award for Music Education

Music Educator of the Year

College Music Educator of the Year

Administrator of the Year

Superintendent of the Year

District School Board/School Board Member of the Year

Distinguished Service Award

Exemplary Model Program/Project Award

Hall of Fame

Middle/High School Music Enrollment Award

Music Education Service Award (Includes 50-Year Membership Award)

We are days away from the application deadline for many of the FMEA award nominations. The deadline for all catego-

ries (except the Music Education Service and the Music Enrollment Awards) is

September 11, 2021. All applications are completed and turned in online. I know you have some outstanding potential awardees in your component, district, and sphere of influence. Please take the opportunity to recognize them. They have been the light, and now it’s your turn to be their light, in recognizing them.

Please check the FMEA website for details about the awards and nomination process here: http://fmea.flmusiced.org/ programs/awards/.

As the Awards Committee embarks on the task of selecting the 2022 FMEA award winners in the coming weeks, “the light” of innovation, creativity, and resiliency will surely shine through on the applications of our potential awardees. It will be such an honor to recognize music educators, administrators, leaders, programs, projects, and businesses that have led the way for our state through this historic time. There is no better time than now to hold high these amazing music educators, music leaders, and music advocates and what they have done to create new and innovative music education for all students in all Florida schools.

If you have any questions about the FMEA Awards Program or the nominations process, please do not hesitate to contact me. I cannot wait to receive your amazing award applications!

EMERGING LEADERS COMMITTEE Mary Palmer, EdD, Chairwoman

As I write this, the world is still in a time of confusion and uncertainty … a kind of altered reality. I’m reminded of the children’s story Alice in Wonderland written by Englishman Lewis Carroll in 1865. In Alice’s conversation with the Cheshire Cat, she asks: “Would you tell me, please, which way I ought to go from here?”

The Cat responds: “That depends a good deal on where you want to get to.”

Alice: “… I don’t much care where.”

Cat: “Then is doesn’t much matter which way you go.”

Alice: “… So long as I get somewhere.”

Cat: “Oh, you’re sure to do that, if only you walk long enough.”

For busy music educators, Alice’s approach is probably not the best avenue for success! As part of their futureplanning at our Summer Conference, 2022 FMEA Emerging Leaders created personal goals for this year. Past “emerging” leader and now leader par excellence Malissa Baker will send these messages to the writers in late fall as a reminder of summer dreams and goals. The goals are far ranging and comprehensive; here are just a few: « Build online strength for my music program; « Focus on recruiting students—starting in elementary school; « Get involved and take on more responsibility in my new school; « Get to know elected officials and influencers in my community; « Contribute to building the strength of FMEA; « Protect some “me time” to soothe my soul; « Visit concerts and community-based events to continue to ignite my passion for teaching and music-making and use these opportunities to make connec« tions in my community; Empower and embrace a diverse music populous.

How about you? Set some stretch goals to build stronger connections in your school and community and beyond. In spite of the crazy times in which we live, as music educators we are harbingers of a better future. Working together, we can make it happen!

FMEA Executive Director Kathleen D. Sanz, PhD

The mission of the Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.

Who knew? (Part 2)

The title of my September 2020 article, just one year ago, was “Who knew?”

Who knew we would still be struggling with COVID-19 and the question of how we will continue music education in our schools? We have learned to be flexible in how we deliver content, whether we are teaching face to face, blended, or virtual.

Well, here we are again! Who knew we would be discussing the same issues while preparing to go back to school in 2021? While some people have been vaccinated, we are still having the conversation and the controversy over wearing a mask when attending school.

Return to Music Project – Latest Guidance and Resources

As many of you may recall, FMEA supported the research on aerosol disbursement conducted by the University of Colorado, Boulder and the University of Maryland. This study has been published and has been used to assist in the mitigation of the COVID19 virus in music classrooms throughout the nation.

As the 2021-22 school year begins, NAfME and the National Federation of State High School Associations (NFHS) have collaborated on new resources to help music educators, stakeholders, and decision makers ensure that music education is available to all students and provided safely. The project included three phases to assist us in the return to school. The Return to Music project is intended to assist music educators rebuild, rejuvenate, and reimagine more inclusive music programs during the 2021-22 school year. The Return to Music: Phase III Guidance and Resources was disseminated on August 11, 2021.

Phase III focuses on Beginning the School Year, with resources for advocacy, recruitment, talking to administrators, different types of returns, and more.

Prior to Phase III, Phase I and Phase II were disseminated with the following foci.

Phase I focuses on scheduling, recruitment, retention, advocacy, performances, and evaluating your students.

Phase II focuses on student social emotional learning (SEL), teacher well being, elementary and secondary school emergency relief fund (ESSER) opportunities for music education this summer and fall, learning acceleration, curriculum adjustments, summer opportunities, general music education, secondary ensemble considerations, student teachers, school owned equipment and uniforms, cleaning guidelines, student eligibility, state association changes, and reporting differences.

The guidance and resources were carefully developed based on recommendations from the CDC and the results of the COVID aerosol study.

All of the links to the project are on the FMEA homepage under “Back to School Guidance” as well as on the NAfME website and the NFHS website.

Music Educator Shortages

In my 2020 article, I also mentioned the issue of teacher shortages for music programs in our schools. This, too, continues to be a challenge, and even though school has begun, we still have many music openings within our school programs. FMEA has a Job Bank on the website for posting positions. We need to do our best to recruit teachers and to talk with students about majoring in music education in college. It does not appear that we will correct the shortage soon, so we need to place an emphasis on recruitment.

There are certainly many “what ifs” for which we don’t know the answers. What we do know is that each of us must have a plan. Be proactive! Share your ideas with your administrators, and be a part of making the decisions and finding the solutions to the challenges we face. Let your administrators know you have a plan for the return of students with systems in place to maintain safety in your music classrooms.

Stay in touch with FMEA. Check the website often as we continue to provide updates, and follow us on Facebook, Instagram, and Twitter.

Stay safe, stay well, and make music!

Musically,

EXECUTIVE BOARD

President Shelby Chipman, PhD

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

Past President Steven N. Kelly, PhD

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

President-Elect Jason Locker

Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org

FBA President Ian Schwindt

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

FCMEA President Marc Decker, DMA

Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; deckerm@fau.edu

FEMEA President Joani Slawson

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

Florida NAfME Collegiate President Alexis Hobbs

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

Florida NAfME Collegiate Advisor Mark A. Belfast, Jr., PhD

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

FMSA President Lindsey Williams, PhD

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

FOA President Laurie Bitters

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

FVA President Jeannine Stemmer

Florida Christian School 4200 SW 9th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org

Member-at-Large Chad Norton

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 ....................................................D. Gregory Springer, PhD

FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu

FSMA President .......................................................................Valerie Terry

vterrymusic@gmail.com

FMEA COMMITTEE CHAIRPERSONS

Awards...........................................................................Sondra A. W. Collins

sondra.collins@marion.k12.fl.us

Budget/Finance, Development............................... Shelby Chipman, PhD

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

Committee Council.............................................................. Debbie Fahmie

fahmied@yahoo.com

Conference Planning Committee ............................John K. Southall, PhD

Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com

Contemporary Media.................................................. David Williams, PhD

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

Emerging Leaders........................................................... Mary Palmer, EdD

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

FMEA Corporate & Academic Partners....................................Fred Schiff

All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com

Government Relations.................................................Jeanne W. Reynolds

(727) 744-7252; jeannewrey@gmail.com

Multicultural Network..........................................................Bruce J. Green

(407) 927-3141; bruce.green@ocps.net

Professional Development.......................................................Scott Evans

Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net

Reclamation ........................................................................ William Reaney

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

Research.....................................................................William I. Bauer, PhD

University of Florida; 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 Development............................................. Michael Antmann, EdD

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

Social Justice & Diverse Learners.................................Bernie Hendricks

Ocoee High School; bernard.hendricks@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE

Exhibits Manager

fmeaexhibits@fmea.org

Local Chairman

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

FLORIDA BANDMASTERS ASSOCIATION

President ..................................................................................Ian Schwindt

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

Past President..................................................................... Cathi Leibinger

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

Executive Director.....................................................................Neil Jenkins

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

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 ........................................................................ Marc Decker, DMA

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

Florida NAfME Collegiate

President ..................................................................................Alexis Hobbs

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

Past President...........................................................................Julian Grubb

Florida Gulf Coast University, grubb.julians@outlook.com

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

President ................................................................................Joani Slawson

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

Past President............................................................ Ernesta Chicklowski

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

Executive Director............................................................ Jennifer Sullivan

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

FLORIDA MUSIC SUPERVISION ASSOCIATION

President ..................................................................Lindsey Williams, PhD

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

Past President............................................................Harry “Skip” Pardee

pardeh@collierschools.com

Treasurer ........................................................................................ Ted Hope

Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA ORCHESTRA ASSOCIATION

President ................................................................................Laurie Bitters

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

Past President.......................................................................Matthew Davis

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

Executive Director............................................................Donald Langland

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

FLORIDA VOCAL ASSOCIATION

President ....................................................................... Jeannine Stemmer

Florida Christian School, 4200 SW 9th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org

Past President......................................................................... Jason Locker

jason@fva.net

Executive Director....................................................................Michael Dye

231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net

Business Manager .................................................................Jo Hagan, CPA

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

CENTER FOR FINE ARTS EDUCATION

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President.................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations.......................Valeria Anderson, IOM (val@fmea.org) Technology Director.....................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org) Business Manager..................................Carolyn Gentry (carolyn@fmea.org)

AFFILIATIONS